Digital Design - Module 01 Semester 1, 2019 Danielle Lee
(930970) Sean Guy | Studio 13
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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) The materiality of icons or signs have no co-relation to its performance and have no binding relationship between its form and content. In contrast, diagrams an be employed as a good representation technique for the performance of any design process. On the other hand, signs expresses the qualities, functions and properties of the object itself, as opposed to diagrams which do not play a representational role for their dynamic object, but rather mediate between physical contructs and concepts or percepts on an organisational level.
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Week One
Precedent Analysis
Fig.1 . Nico Saieh, Aires Mateus - Radix, 2012.
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1. Model a 8000 x 8000 x 4000 mm box in Rhino3d.
2. Construct two spheres and an ellipsoid refering to the dimensions given.
3. Boolean difference the box with the two spheres and an ellipsoid.
4. The resulting form is created.
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 critiqued the idea of extreme functionality and suggests that instead of something that have been geared or designed for a specific function, design something that offers “accommodating potential”and make spaces more receptive to different situations. By examining the Radix pavillion, we found that the threshold or in-between spaces created through “inside and outside” not only offers opportunity for people to linger around and explore these spaces, but also allows people to sit under its shade or perhaps lean on the edge of the pavillion while enjoying the scenary of the Arsenal dock. The steps near the pavillion that was originally functioned to facilitate ease of movement when boarding a ship now offers the provision of seating for the public because of the private space that have formed with the presence of the Radix pavillion.
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Week Two
Isometric
Isometric - SW An isometric view looking from South West was chosen because the circulation and threshold can be clearly seen in the image. In addition to that, it framed view of the Arsenal dock and showed how people are interacting with the pavillion. From looking at this isometric view, we can easily figure out how the form was made by substracting a solid with two spheres and one ellipsoid. In fact, the modelling process of constructing each panels for the ellipsoid took the longest time due to its complexity in nature. The key concept of the Radix pavillion was intergrating the new with the old. It combines history and contemporary technology in seek of continuity rather than novelty. It reminds you of the brick arches from arcaded arsenal gallery but presents itself as a new form with steel arches using modern computattional technology. During the modelling process, I realised that the circulation within the pavillion was shaped by the voids that were formed from substraction process, and the heights of spheres defines the accessibility, density and frequency of people circulating through. Void that was too small has no one circulating through. The context of water canal beside the pavillion also shaped how people walk through the space because it attracts people to walk under the pavillion and gather near the water canal. On the other hand, the threshold or in-between spaces of the pavillion were formed by the arches of the spheres that were created from substraction. By looking from outside of the pavillion, a massive steel structure creates a feeling of heaviness in contrast to when you walk into the pavillion, the edges of the arches, the reflective golden interior panels and the pointy center creates a feeling of lightness. A different spatial experience was experienced from the outside and the inside. This was created by the threshold of arches that combines the two spatial qualities.
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Week Two Diagrams
Structure/Solid
External Steel Structure/ Heavy
Voids /Circulation Space
Inrternal dome-shaped structure / Arches/ Light
Circulation pathways
Degrees of intimacy
Circulation Diagram
Threshold Diagram
The circulation paths are defined by the voids and substraction of the solid. The void which frames the water canal view have a greater flow of people because it is an attactive feature and allows people to gather near the water and stay away from the chaos that characterise the noisy, dirty streets.
The threshold or in-between spaces of the pavillion blurs the boundary between the three different spaces within the pavillion. The different height of the arches create varying degrees of intimacy. The sensation of intimacy could be felt when someone is walking directlyunder a lowest point of the arch.
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Appendix
Base Modelling Process
Fig. 2 . Nico Saieh, Aires Mateus - Radix, 2012.
1. Model a 8000 x 8000 x 600mm box.
2. Draw lines to create steps near the water canal.
3. Boolean and trim off unwanted surfaces.
4. Combine the ground with the pavillion in rhino and use the make 2D Command.
5. Export to illustrator and adjust lineweights.
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Appendix
Interior Panels Modelling Process
Fig.3 . Nico Saieh, Aires Mateus - Radix, 2012.
1. Create a line and command array polar to create a set of lines with same angle every interval.
2. Place the lines at the center point of the sphere.
3. Use the command ¨Project¨ and project the lines onto the surface
4. Use the same method to create the lines for panels for other surfaces. Trim off unwanted lines.
5. The interior panels lines are formed.
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Appendix
Interior Panels Modelling Process
6. Duplicate the projected lines from the surface.
7. Create a box and extend the curves onto the surface of the box.
8. ¨Loft ¨ each panels.
9. Extrude the bottom curves.
10. ¨Trim¨ off unwanted surfaces.
11. The first set of interior panels are formed.
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Appendix
Interior Panels Modelling Process
12. Apply the same method to create the second set of interior panels.
13. ¨Extract Isocurves¨ from the ellipsoid.
14.¨Loft¨ the individual panels.
15. Extrude the boundary curves.
16.The resulting panels were formed.
17. All the interior panels are now completed.
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Appendix
Diagrams Production Process
1. “Make 2D� in rhino and export lines to illustrator
2. Overlay the lines onto a background image exported from rhino and adjust the lineweights.
4. Start aligning diagrams in illustrator to make an isometric digrams. Adjust the lineweights according to degrees of visibilty.
5. Add colours and symbols to diagram.
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3. Start rendereing process in photoshop.
Appendix
Process
Fig. 4. Mystetskyi Arsenal, 2012.
Fig. 5. Pavillon de l’Arsenal, 2015.
Fig. 6. Arches of the Gaggiandre, 2013.
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Appendix
References
Fig. 1. & Fig. 2. & Fig. 3. Nico Saieh, Aires Mateus - Radix, 2012. https://www.archdaily.com/267567/venice-biennale-2012-radix-aires-mateus Fig. 4. Mystetskyi Arsenal, 2012. https://www.inyourpocket.com/kyiv/Mystetskyi-Arsenal_89146v Fig. 5. Pavillon de l’Arsenal, 2015. https://en.parisinfo.com/paris-museum-monument/71507/Pavillon-de-l’Arsenal Fig. 6. Arches of the Gaggiandre, 2013. https://discoveritaly.alitalia.com/en/au/destinations/venice/beyond-the-venice-biennale-the-secret-arsenal
Other references https://www.detail-online.com/article/space-condensates-biennale-2012-16439/ https://www.metalocus.es/en/news/radix-aires-mateus-venece-biennale
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