Digital Design - Module 01 Semester 1, 2018 Unn Areecharoenlert (Poom) 796631 Samuel Lalo Studio 12
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)
Operative diagrams facilitates the design process due to its organisational and performative qualities. Unlike descriptive diagrams, operative diagrams allow for the definition of relationships and parameters between each element, as opposed to the visual definitions of spaces, volumes and measurements. Operative diagrams synthesises various approaches and solutions without limitations to the final design outcome. The difference between diagrams, in this case operative diagrams, and signs or symbols is that: Diagrams arenâ€™t just a defined representation of an entity like the icon or symbol is. Diagrams are a dynamic manifestation of information whereby many outcomes and representations could be derived from.
1. Image of Radix Pavilion [Nico Saieh, ‘Venice Biennale 2012: Radix / Aires Mateus’, accessed 10 March 2018, https://www. archdaily.com/ 267567/venicebiennale-2012-radix-aires-mateus/ bnl_aima_12], 2. Plan of Arrangement. 3. Isometric Image of 3D Elements, 4. Isometric View of Subtractions
From observation, Aires Mateus has utilised the technique to subtraction in order to create the Radix pavillion. Using measurements in the plan as provided on the LMS, I have mapped the arrangement of the spherical volumes. Once the arrangement is correct, I’ve created the volumes and utilised the Boolean difference command to subtract and create space from the main rectangular mass.
Reading: Hertzberger H. 2005. The in-between and The Habitable Space Between Things, from Lessons for Students in Architecture. Hertzberger 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)
In the passage, Hertzberger states that design’s should not be extreme in its functionality because more than often, humans appropriate objects to suit other programs. The concretisation of design elements to facilitate just one certain program would diminish the sense of hospitality of that architecture has to offer. He advocates for the existence of habitable ‘in-between’ spaces; in which these thresholds provide a key area of transition, to connect between areas of divergent territorial claims. A place where two worlds overlap, rather than a sharp demarcation. The threshold should provide conditions to facilitate both hospitality and for privacy. For example, he makes the case in the design of balustrade. Although, its original purpose is to indicate the edge of a plane and prevent accidents, humans have found a way to appropriate them by leaning, sitting and placing objects on to them. Thus resulting for the threshold to transform from an apparatus into an element that facilitates all programs. In the design of the Radix Pavilion, there is no design elements that dictate the program, only varying volumes that create both senses of intimacy and circulation. People can appropriate smaller height volumes for programs requiring more privacy, whereas larger volumes invite circulation of people. The design of Radix embodies Hertzberger ideal for the ‘threshold’.
North-Western Isometric View
This isometric provides an contextual image of how the Radix pavilion was situated at the piers of Teatro alle Tese for the Venice Bienale exhibition in 2012. The intent of this pavillion was contemporary reflection of the forms of the arcaded Arsenal galleries, and to evoke the collective value for heritage. In the Radix pavillion, people tend to circulate under the apex of the spherical volumes. This is because people tend to move around spaces with comfortable head clearance, as opposed other areas of the pavillion with lower clearances. The threshold of the pavilion have been alluded to by the visual cues of varying volumes of spaces and heights, which permit areas of intimacy and for circulation. People tend to congregrate and inhabit enclosed spaces because of the edge effect. In these areas, programs of a higher degree of privacy occur. Whereas larger volumes are reserved for circulation and movement. This pavillion utilises digital-aided fabrication of elements such as the outer shell, inner armature and inner shell to create this steel structure.
Week Two Diagrams
Circulation vs Intimacy
Using the contextual information of the setting, images and thresholds of the pavillion, I deduced the directional circulation through the use of line, and how the space is occupied depending on the degree of intimacy and circulation.
This diagram delineates the threshold created by the variation of heights and edges. This diagram was used to inform the circulation vs. intimacy diagrams.
From the plan views as retrieved from the LMS in images 1 and 2, I have modelled the placements of the elliptical and spherical forms, using points on Rhino 3D. However, I have noticed that there is a difference between the visual representation and the measurements as provided in the plans. As a result, I have cross-checked the arrangement using the wrapped elevations and measurements as shown in Image 3. To make it three-dimensional, I used the box and sphere tools to create the masses, and adjusted the dimensions using gumball in image 4. In Image 5. I used the BooleanDifference commandto subtract the spheres from the box. In image 6, to recreate the ridges within the pavillion, I arranged lines in a radial pattern and used the project command on the inner shell. However I have encountered a problem with the projection of lines onto the elliptical forms, so I have decided to solve the problem with additions using Illustrator.
Appendix Process 7
In order to provide contextual information of the settings of the pavillion, and attempt to understand the design and placement of the pavillion, I have used Google Earth in order to map out the piers of the Teatro alle Tese [Image 7]. I used Illustrator to trace and imported the lines into Rhino in order to model the surroundings [Image 8]. From there, in image 9, I used the isometric images to render the settings in Photoshop. In image 10, I have used a combinaion of Indesign, Photoshop and Illustrator to create superimpositions of the design to recreate a rendered, ghosted view of the Pavilion. In the contextual images created using photoshop and research that I have conducted; I have deduced the circulations on the pavillion. Moreover, from my knowledge of the edge effect and thresholds, I ws able to deduce areas of intimacy and circulations based on the placements of the apex and footings of the pavillion as shown in image 11. In image 12, I have used a combination of Rhino and Illustrator to demonstrate the steel structure of the Radix Pavillion.