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Digital Design - Module 01 Semester 1, 2019 Niamh Carey

915640 Samuel Lalo + 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)

As opposed to a sign or symbol, which is a direct representation of something, a diagram inaugurates a logic of sensation aimed at bringing forward new worlds. This can further be explored in ‘diagrammatic architecture’, which is used to trigger new possibilities (even ones that wouldn’t have otherwise been imagined). This is especially adventurous in a culture characterised by change. As discussed in the reading, diagrams have a reductive nature, but are required to precisely define certain elements. In other words, a very simple diagram may generate very complex organisations.

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Week One

Precedent Analysis

Figure 1.

Figure 2.

Figure 1. Beginning of model process - extruding curves Figure 2. Adjusting the top layer by SoftEditCrv to achieve angles Figure 3. Final model - clear layering for ease of modelling

Figure 3.

Precedent Image: Leibinger, Barkow. Serpentine Summer House 2016. 2016, Photograph. Accessed March 16, 2019. https://barkowleibinger.com/archive/view/serpentine_summer_house_2016.

My initial steps were to import the plans and elevations into Rhino, then Offset curves to ensure a consistent thickness. These curves were then extruded, capped and moved up to the corresponding location given on the elevation. Any other information that was necessary but missing on the elevation was worked out using ratios and always comparing back to the drawings which were provided. For the ‘top’ layer, the process was slightly different. I used the SoftEditCrv tool and Sweep2 to produce the angled curves. All layers were to then be combined to produce the final model.

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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 discusses how extreme functionality is rigid and inflexible. The Barkow Leibinger pavilion invites a degree of imagination into how it could be used. For example, irregularities (such as level differences) are embraced and maximally exploited to create a dynamic space which responds differently depending on light, temperature and weather conditions. This idea forms the basis of the top ‘layer’ of the pavilion. Leibinger has successfully managed to do more with the same material, yet organise it differently, which are points Herzberger discussed as ‘extra qualitative requirements’. In doing so, there is an aspect of ‘accommodating potential’, whereby the user can determine the use of the pavilion.

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Week Two

Isometric

Barkow Leibinger Serpentine Pavilion After the model was complete in Rhino, the line weights needed to be adjusted in Illustrator. I had varying line weights from 0.03 to 1pt, however I also layered the line weight image with a feathered render and an outline without hidden lines, to represent the dynamic nature of the structure. I grew committed to the idea that this pavilion requires to have its complexity on show in order to discuss circulation paths and thresholds. It is not just the outer-face of the pavilion that attracts explorers, but rather the many curves, components and layers. Very quickly after exploring this pavilion myself, I came to the conclusion that not one persons path should match another, as this was a place that invited the person to create their own experiences. Such experiences would depend on the time of the day, the temperature, the lighting conditions and the persons intentions with the space, as well as their emotions on the day. All of these, would too, affect the thresholds, as there is true beauty in what the layers can produce - whether that be shelter or shadows, or both.

NO SET PATH NO SET EXIT

TRY

NO SET EN

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Week Two Diagrams

Circulation Diagram

Threshold Diagram

This pavilion is not rigid or structured, but rather invites the user to ‘play’. There is no one entry, exit or path. People wander and explore the pavilion, whilst being attracted to the seats, shelter of the ‘walls’ and the ever-changing shadows of the roof.

Two main threshold ideas act on the ground and at roof level. The first is a landscaped reflection of the roof on the ground (see Main Precedent Image), which is also affected by the sun path. The second is the light that penetrates through the top layers.

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Appendix

Process

Using the provided plans to create the seating as one of the first steps. Offsetting Points to ensure a consistent curve.

Producing the ‘tear-drops’, which form the inside of the seating. After inspecting the images, it was clear that these were separate to the main curves, almost acting as inserts. This turned out to be rather pleasing to model, as opposed to if it was constructed as one.

Working on the top layer - which required some different techniques to be used in order to produce the dynamic angles and correspond to all elevations.

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Appendix Process

Notes from week 1 reading: Between Ideas and Matters and week 2 reading: Lessons for Students in Architecture.

(continued w2 reading) I found particularly interesting the idea discussed of having 2 doors to an apartment, which would beg the question, “which is the real door?” This would have advantages of opening up a dwelling, making clever use of what would otherwise be dead hallway space and creating a certain atmosphere of community.

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Starting to explore the idea of circulation and what defines the space in Leibinger’s pavilion; I quickly came to the conclusion that clean lines and arrows (only suggesting one direction) could not properly describe the chaos of every person taking their own path, each slightly different from the next.


Appendix

Process

Exploring what defines circulation an threshold, and what factors influence these.

Exploring the site plan; noting the Serpentine Gallery, and the two other pavilions that were on simultaneously. This would give the path through the whole garden a strong sense of direction.

The light and dark spaces as a result of the sun path.

The direct rays of sun, determining the most shadow prone areas and therefore where people would go for different experiences.

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Although I had already assumed that set paths and arrows wouldn’t suffice for this pavilion, I attempted both an arrow approach and a shading approach. In my opinion, these do not successfully illustrate the full potential of circulation.


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