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Digital Design - Module 01 Semester 1, 2018 Joshua Tsang

86873 Siavash Malek - Studio 20

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)

Zeara-Polo differentiates diagrams from Signs and Symbols by drawing from Charles S. Peirce’s classifications of different signs. According to Peirce, a sign is a stimulus pattern that has a meaning. He separated Signs into 3 categories; Icons, indexes and symbols by how their meaning is associated with the sign. In short, icons physically resembles what it depicted. Indexes are signs that correlates or points to what it is depicting. A symbol is a sign which holds no resemblance to what is being depicted. According to Zeara-Polo, a diagram is different from the kinds of signs mentioned above as diagrams lack the qualities of each of those types of Signs. According to him, a diagram is a tool that describes relationships and prescribes performances in space and can have different results depending on how it’s deployed. Although a diagram does not play a representational role, it serves an organisational role which can have a performative quality.


Week One

Precedent Analysis

1. Plan wireframe

2. Side wireframe I started modelling the pavilion by sweeping cross sections of each ele-

3. perspective ghosted

Herfst, Walter. 2011. Serpentine Gallery Pavilion Image. d741/adbc/01b8/7c00/0106/slideshow/jo_mg_7808serpentinezumthor-press-page.jpg?1442240294.


ment of the pavilion along a rectangle. After completing the main shape of the pavilion, I boolean-ed out the corridors and the doorways. Lastly, I finished the model with a few details, like the lights

Week Two

Reading: Hertzberger H. 2005. The in-between and The Habitable Space Between Things, from Lessons for Students in Architecture. Herzberger discuss 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)

Although, flexebility of function may seem limited in Zumthor’s Serpentine Pavilion. Zumthor has designed the pavilion with multiple entrances to the pavilion, and the multiple entrances into the main garden area. This allows visitors to pass through at their own pace, experiencing the ‘in-between’ spaces more or less depending on the person’s liking. If one wishes, they may circulate the corridors multiple times, before entering the inner garden, or they may even leave throguh another exit without ever entering the inner garden. While the benches surrounding the inner garden provides visitors a place to rest and contemplate, the inner garden is also designed with nothing in particular to limit how visitors can ocupy the space which gives flexibility in how the space can be used.


Week Two


Isometric The first image on the left is a capture of the raw rhino model I created according to the available information on Zumthor’s Serpentine Pavilion. Following that is my final Isometric where I separated the Image into 4 sections where different elements are highlighted in each section. During the modelling process, I modeled the form and structure of the pavilion by sweeping section cuts of the pavilion. Used the same method I add each of the elements of the pavilion one by one. Then I added on the paths on the exterior of the pavilion. This process reminded me that although one’s design may be simple, symmetrical and minimalistic, great in-between spaces can still be incorporated. In Zumthor’s pavilion, the black painted corridors that separate the inner garden from the outside world will heavily affect how visitors will transition from the outside into the inner garden. In addition, I’ve decided to model in detail the lights throughout the corridor and the inner garden. As the lights heavily contrast the black pavilion, I believe they play a large role in how the viewer will perceive the main transitional space, the corridors. I believe that the true threshold of this pavilion starts from the very beginning of the paths that slowly elevates and lead to the pavilion. Surrounded by vibrant green grass and trees, it starts to transition you away from the hustle and bustle of the big city. The corridor with offset entrances serves as a transitional space that forces the visitor to be in the traditional space longer. The corridor not only blocks off the view to the outside world but also to the inner garden. The viewer’s minds are not given visual content to process, in preparation for their entrance to the inner garden, where there are dozens of colourful plants waiting for the viewer to fathom over. Although the offset entrances prevent the visitor from entering the inner garden directly, it does not force the visitor to take a specific path into the inner garden. The key concept of the pavilion is to provide a space that is separated from the busy city life for contemplation. The design of the paths, to the multiple offset entrances, allows visitors to ‘transition’ between the two spaces at their own pace. (Images are not to scale)


Week Two Diagrams

Circulation Diagram The diagram to the right is a circulation diagram that shows some of the paths a viewer may take. The lines in the corridor are straight and uniform while the lines in the inner garden are wavey which is used to shows the types of movement each space allows for in the pavilion.

(Images are not to scale)

Threashold Diagram Starting from the bottom up. The first layer shows each area’s exposure to light. While the dark corridors are completely enclosed, the sides of the inner garden are shaded by the protruding roof, and the centre of the garden along with the outside is completely open. The second layer displays the density of people across the pavilion. While the limited attraction and space in the corridors leave the corridors less occupied, the inner garden is mostly occupied by people sitting on the bench surrounding the sides. Lastly, the third layer illustrates how the offset entrances create the transitional space which may lead the viewer to be in the corridor different amounts of time depending on the path they take. Together, this diagram shows the thresholds of Zumthor’s Serpentine Pavilion.








Modeling Progress Here are a series of images that show the building up of the model. Starting from the footing, to the floor and benches, to the corridors, and then the walls. Then lastly, the extra details like light and the paths



Appendix Process

2. Here are some iamges of the interior of the model along with a capture of the model with a clipping plane applied at the middle. Figure 1: inside the corridor, figure 2: in the inner garden.





Here are some images of the progress of filling in the colors and fixing the light weights of each section in illustrator


Joshua Tsang - DD Module 1 Journal  
Joshua Tsang - DD Module 1 Journal  

Joshua Tsang's Digital Deisgm - M1 Module Journal