Digital Design - Module 01 Semester 1, 2018 Zhi Charles Teoh
(Student Number: 899991) Studio 01; Tutor: Chelle Yang
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)
Diagrams are different from Signs and Symbols in that while signs and symbols typically refer to or represent, in one way or another, their respective dynamic objects, the diagram inaugurates a logic of sensation aimed at bringing forward new worlds, and as such allows the emergence of another possible world. Zeara-Polo defines diagram as a tool that describes relationships and prescribes performances in space, and which does not necessarily contain metric or geometric information. It is usually specific to a space, always having a spatial correlation as opposed to a graph which exists in an abstract space. It relates to processes that may occur not only in the 3D space but in several other dimensions of reality. Whereas Signs and Symbols are rigid and mandatory representations of objects, a very simple diagram may generate very complex organisations.
Source: “architecture: SERPENTINE GALLERY PAVILLION” architecture, accessed April 17, 2017, http://new-architecture-archi.blogspot.com.au/2012/01/serpentine-gallery-pavilion.html.
Clockwise from left: Image photo of the Serpentine Pavillion; ‘Net’ of the Pavillion with solids and glazing; Sample of roof model, completed with solids, glazing and structure; Completed model of the Pavillion
The process of modelling starts from understanding on what basis the architect designed this structure. From there on, the Pavillion was broken down into five sides: the roof and each of the four sides, arranged into a net. For ease of extracting key geometry and features of the Pavillion, each side was separated into three layers: a ‘Walls’ (solids, white) layer, a ‘Glass panes’ (glazing, cyan) layer, and a ‘Lines’ (structure, magenta) layer. The model is complete after adding depth to each side and the base to the Pavillion.
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)
While the Serpentine Pavillion is used as a beach restaurant, the spacious nature of the Pavillion allows people to relax in the structure itself. Tables and seats for dining are arranged in such a way that they shape the circulation path, or the path along which visitors are expected to walk through the Pavillion. They are also not clustered in such a way that visitors would feel obliged to dine in the restaurant when they enter the Pavillion. Rather, the Pavillion is designed such that it allows visitors to enter and slowly admire the architecture of the structure itself: visitors could stand in the walkway and it would not interrupt the movements of waiters and other visitors.
Isometic of Toyo Ito’s Serpentine Pavillion The modelling process of Toyo Ito’s Serpentine Pavillion starts small - a small square oriented at a certain angle on a plane. Another square with the same centre but slightly larger and oriented at a different angle is drawn. Then, another larger, differently oriented square is drawn. This continues after a geometrical pattern forms, and thereafter each edge of all squares are extended to the edges of the boundary. This design was then made into a net and then folded into a cuboid. Solids and glazing are arranged in such a way that the smallest, initial square is a glass pane, and no adjacent spaces are alike, i.e. a solid space is never adjacent with another solid space. Such arrangement of solids and glazing causes the sun to shine into the Pavillion in a unique way such that thresholds are formed between where sunlight could reach and where it could not, as visitors are more inclined to sit under the sun within the Pavillion.
The entrance points are set not only such that each side of the Pavillion has an entrance, but also such that the shortest possible circulation path is long enough for visitors to be able to admire the beauty of the architecture. As this Pavillion is now used as a restaurant, dining areas are carefully situated around the circulation space. For example, the de facto ‘dining area’, which should ideally be unintruded by circulation paths, is at the largest area enclosed by the boundaries of the circulation space and the Pavillion walls. The counter is, in contrast, strategically situated in the middle of the circulation space to improve its accessibility for customers.
Week Two Diagrams
Dining Table Counter
The circulation of the Pavillion is mostly shaped by the arrangement of the entrance points. Most visitors would tend to walk the shortest path from one entrance to another. The de facto â€˜dining areaâ€™ is at the top corner while the counter is situated in the middle of the circulation space. Interestingly, there are also a few dining tables situated in the middle of the circulation space, possibly to divert the circulation paths.
The arrangement of solids and glazing within spaces is such that no similar type of space could be adjacent to one another. When the sun shines through the glazing, it forms a checkered pattern within the Pavillion and hence the thresholds.
Finding and tracing the squares on the Pavillion. Since the Serpentine Pavillion was based off the rotation and expansion of squares, the first task of modelling is to find all of the squares.
The structure created using the Sweep1 command.
The solids and glazing created using the ExtrudeSrf command.
Noting of entrances into the Pavillion based on existing images for the sake of mapping the circulation paths.
Moving the diagram to Illustrator with the Make2D command.
Published on Mar 9, 2018