Digital Design - Module 01 Semester 1, 2018 Lachlan Barnett 834525 Han Li, Studio 16
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 contends that signs and symbols are generally used to define or identify “material expression(s) of qualities”, that is, they can represent an object or entity without being explicitly related. For example, symbols are often interpreted in alignment with cultural norms, or icons representing a part of a greater whole, such as traffic signs. On the other hand, diagrams present a “mediation” between the real and abstract dimensions, through defining relationships and performances within a space on an organisational level.
a) Base of structure b) Addition of surfaces c) Adding frames and filling out structure c)
1. Unknown, Daniel Libeskindâ€™s Serpentine Pavillion 2001, London. https://libeskind.com/publishing/serpentine-gallery/
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 wrote that an object should be used as an “instrument” rather than “apparatus”, in context meaning that a space should be able to be appropriated for use by the individual. The way in which people choose to interact with the space is defined by how it is laid out as a blank canvas, as a building should be designed for maximum utility. In the case of the 2001 Serpentine Pavillion, Daniel Libeskind created an open space which plays with threshold and is defined by the user’s interpretation. In it’s short existence, the structure was purposed for use as a lecture theatre, a gallery, and a café, as it’s open plan design left plenty of room for diverse utility.
Libeskind Serpentine Pavilion 2001 The Libeskind Serpentine Pavilion was designed as a multifunctional space in which was eventually purposed for a variety of uses. Also known as the â€œ18 turnsâ€? building, the Japanese origami-inspired space plays with the idea of threshold in that there is no clear definable space in which is completely sheltered from the elements. A perspective from inside the building shows that there is a distinct relationship with the surrounding environment, as you can see out of the folds of the building whereever you look. It is for this reason that the threshold contained by the structure is blurred as it has such a distinct connection with the outside world, as equally defined by the shiny aluminium finish on the outside of the building. In terms of the modelling process, I tried to emulate real life perspectives of the building to maintain its characteristics and experience both inside and outside. It is fairly obvious from the overlapping of the folds where the entry and exit points are, and how each of these affects the circulation and experience of framed views as a person navigates through the building.
Week Two Diagrams
Threshold Contributing Members
12PM Threshold Effectiveness High Threshold
Primary Circulation Boundary Node Entry/Exit Node Accessibility Boundary
N Circulation & Threshold Transition
How the circulation of the building informs the sense of threshold experienced by the user.
A quick look as to how the sun path affects the orientation of the building and the position of the folds in order to provide protection from the elements.
Provided Images of Plan and Elevations
Plan of site
Elevations of site
Workflow in Rhino
Designing of interior structures
General plan of building
Elevation of site
External Modelling Based on Real Life Perspectives
Modelled perspective based on real perspective photograph
Real life perspective photograph
Published on Mar 11, 2018