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Digital Design - Module 01 Semester 1, 2018 Jessica Richardson 910855 Xiaoran Huang, Studio 8


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)

Unlike signs and symbols, diagrams “[do] not belong to a logic of representation”. Rather than being concerned with symbolic operations, they can initiate a “logic of sensation”. Zeara- Polo suggests that this sensorial and experiential aspect of diagrams enables exploration beyond current knowledge. Furthermore, signs (and by extension symbols) represent the relationship between form and content in a “totally arbitrary” manner. This arbitrariness associated with signs and symbols is lacking in diagrams as the reductive nature of organisational operations are ultimately about “precisely defining” throughout the process.

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Week One

Precedent Analysis

Images: Top left to bottom Stage 1: Isometric rendering. The modelling commenced with the primary components of the structure; the roof and the poles. Stage 2: Isometric rendering. The glass walls were then included in the digital model as well as the outline of the built ground.

Photo: Baan Iwan. The 2009 Serpentine Gallery Pavilion / SANAA, 2009, photo. ArchDaily. Accessed 9 March, 2018. https://www.archdaily.com/28672/the2009-serpentine-gallery-pavilion-sanaa/sanaa-serpentine-4533

The modelling process began with outlining the free flowing curves of the aluminium panelled roof. Next, the steel poles were constructed using the arrangements and heights found in given plans. Using these pole heights, the roof was then generated to follow the smooth undulations of this pavilioin. Although many are subtle, there are gradual height progressions which were crucial to the overall intentional aesthetic which SANAA. Finally, the concrete ground which echoes the roof was outlined.

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Stage 3: Isometric rendering. Further details such as tables, chairs and vegetation has been included to provide a visual of the exterior environment of the pavilion. This then offers insight into how individuals may access and engage with the 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)

The free flowing form of the Serpentine Pavilion (SANAA, 2009) exemplifies how simplicity can engender individual interpretation and engagement of the space. The majority of the structure is sheltered by an undulating roof. However, the lowest height may be appropriated to be used as a table, to lean against or for children to play around. Furthermore, although the glass walls surround part of the space, there is no specific functionality associated with the enclosed areas. For example, these spaces could be used for small gatherings, a pop-up cafe, or even just merely shelter from wind and rain.

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Week Two

Isometric

Serpentine Pavilion, SANAA

This isometric depicts the Serpentine Pavilion (SANAA, 2009) with surrounding vegetation. Textures were applied to emphasise how SANAA created an open space that also worked harmoniously with the environment. In particular, the aluminium roof reflects the trees and sky, almost disappearing into the surroundings, and thus it was crucial to include vegetation. This precedent demonstrates how free flowing spaces can still offer a sense of direct pedestrian paths, e.g: the lineal axis and the circular enclosures. It was also interesting to note how height affected pedestrian use. For example, the lowest heights of the roof allowed people to sit around and use the form as a table, or perhaps for children to hide under. This is similarly evident with the defining of thresholds, which consequently informed the circulation paths; those in the circular space will feel more like to stop and observe, whilst those working through will feel encouraged to follow the path. However, in saying this, SANAA also encourages indivudal to explore the space as they feel with access and exit points from almost anywhere.

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Week Two Diagrams

Isometric Circulation

Isometric Threshold

Various opacities were used for the pedestrian paths to demonstrate how common the path was followed. This was then supported with areas of high density or convergence between the lines. As seen, the central region and the larger enclosure is most likely to be highly utilised.

Similar to circulation, three opacities were used to visualise the threshold spaces. The thresholds here were defined as: the concrete ground, the foot path, and the circular enclosures.

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A

Appendix

Process

B

Digital rendering, plan view Here the free form can be seen to be working with the surrounding vegetation.

Digital rendering, section A

Digital rendering, section B

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Appendix Process

Images (Top left to bottom): 1. Perspective of digital model looking across a common access point 2. Perspective of digital model showing further detail of chair and table arrangements and therefore how the open plan can be utilised to become quite a social setting 3. Perspective of digital model looking into one glass wall enclosure that was suggested to be

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Appendix

Process

Digital Rendering: Structure

Digital Rendering: Circulation

The Serpentine Pavilion (2009) consisted of 2 sheets of 3mm aluminium panelling attached above and below a 19mm plywood core. The steel poles were attached by bolts and fastened to the ground on base plates. The ground is concrete with a gravel path running through.

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Digital Rendering: Threshold


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