Matt Brebner - 916715
Digital Design - Module 01 CE
Circulation /Density paths
916715 Siavash Malek Studio 18
Circulation and Thresholds 1: 200
Semester 1, 2018
Daniel Libeskind - Eighteen Turns (Serpentine Pavilion)
Isometric NE 1:75
Thresholds (Shadows) 1:200
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 (inc. icons and indexes), according to Zeara-Polo, have a ‘relationship between for and content that is totally arbitrary and immaterial’. That is, they play a representational part in the display process between object and concept. Whilst being both arbitrary (sign) and non-arbitrary (icons), they do not have the properties of a diagram at the organisational level. A diagram however, ‘do not play a representational role for their dynamic object’, rather they ‘mediate between a physical construct and concepts at an organisational level’ (Zeara-Polo). Diagrams are reductive, and afford the user abilities in conceptual representation to construct new worlds of imagining from the current.
(Clockwise from left) Serpentine Pavilion Elevation Views, Plan View, Section, Image showing pavilion under construction
The starting point in modeling this was to scale the elevations and the plan view in Rhino. This was done by reading the scale bar on elevations, and referencing this with the height of the individuals shown to gauge closeness. Accuracy was confirmed utilising length of Gallery in plan View. Outlines were drawn over the structure in elevation view, with these then transferring vertically to corresponding direction outlines on the plan view. From here, images were referenced along with both elevation and plan views to as accurately as possible complete the structure in 3 dimiensions.
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 Serpentine Pavilion by Daniel Libeskind is a prime examply of the notion of assumed space, or that in which space is created without a necessary function or cornered into a purpose. The often small openings, the large overhangs, the seemingly sporadic dispersment of the entrances/exits, all exist in part to challeng the viewer as to the purpose of space. Here, Libeskind has offered up a rich palette of options for sitting, viewing, lying, walking, photographing, in a qualitative manner that will represent itself differently to each user, and potentially to the same user on different days. Whilst an overall theme to the pavilion can be discerned, the ability of the architect to create a looseness to its form open up is function.
A Plan, Section, or Elevation? I chose to model the aluminium skin of the walls and roof, and the timber floor. Although I believe the riveting of the aluminium, and the exposed steel understructure are important to the design and feel of the pavilion, I didnt think they informed the threshold/circulation diagram I was modelling for. The ambiguity of the structure represented in 3 dimensions immediately indicated that this is not a straightforward analysis. Upon modeling it became apparent quite early the possibiltiy that people will circulate quite readily around the pavilion, seaking new dimension of viewing and access. THe thresholds extended beyond the timber floor as the verticality of the structure grew larger than in 2d appearance. The key concept here is, in my view, the blurring of lines between how you define thresholds, and how fastidiously one can design circulation spaces that are adhered to, or morph into a form, perhaps foreseen, but not predicted by the designer. The threshold for this pavilion are many, and will change seasonally and day to day. The main circulation entrance is mostly dictated by the frontality to the Gallery, through which most patronage will travel. This is somewhat superceded as you draw closer to the structure, where multiple smaller entrances open themselves up to the view. The large overhangs, which often extend past the timber floor, create another threshold of light, shadow and overhead cover, seperate from the ground plane.
Week Two Diagrams
Circulation and Density of Movement
Shadows 10am to 6pm August 20, 2001
Showing the density of people, and hence the movement through spaces and thresholds. Paths generally follow places of shading during summer analysis period, and intersect at key thresholds.
Shadows mapped over time, showing greater densities where cover is greatest. This in turn informs the circulation study, and suggests how the angular nature of the structure presents a varied pattern of user activity on a summer day.
Elevation views in Rhino. Highlighted lines showing tracing of outline, sticking to the white sections which are those representing the foreground. These tracing were then rotated 90 degrees, and placed over the plan view in corresponding positions there.
At first there was an attempt to match up the elevations together in order to enlose the roof structure, but I quickly realised the nature of the plan view and the necessity to overlay these on that view instead.
Once the elevation views were aligned over the plan, I used reference images alongside the elevation views to form the connections between the structures, how the roof was located, and the horizontal angulation of the walls as not shown in any documentation views.
Once the model was created satisfactorily, I modeled the shadow pattern over the terrain, and added people in densities around both the shadows, and threshold spaces.