Digital Design - Module 01 Semester 1, 2019 Emma Kelly
950391 Shiqi Tang, Studio 30
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 defines the diagram as a “tool that describes relationships and prescribes performances in space” (p. 239), whereas signs and symbols describe dynamic objects. The diagram always has an inherent spatial correlation, may it be a specific space, location, or temporal frame. Signs and Symbols however don’t provide for overlaying multiple layers of information in one representation which is why Zeara-Polo brings forward the quality of diagrams being able to not only function in three dimensions. Furthermore, diagrams as opposed to signs and symbols may describe the unseen and unknown, bringing forward “new worlds” (p. 239).
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Week One
Precedent Analysis
(Top Left) The main body of the Pavilion was created and the dimensions of the spheres and ellipsoid were determined. (Top Right) Positioning of the volumes and cutting them from the main volume with the command “BooleanDifference”. (Bottom Left) With the command “Project” the paneling of the interior material was immitated, the ground surface was created. David Basulto. “Venice Biennale 2012: Radix / Aires Mateus” 28 Aug 2012. ArchDaily. Accessed 16 Mar 2019. <https://www.archdaily.com/267567/ venice-biennale-2012-radix-aires-mateus/> ISSN 0719-8884 For the modeling of the pavilion it was important to pay close attention to the dimensions provided by the drawings. After having created the main body of the pavilion, the two spheres and the 1 ellipsoid had to be cut from the square volume. The patterning was later added to the surfaces to imitate the interior cladding material. The surroundings were later added and dimensions estimated by photos and desktop research.
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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 emphasizes the importance of diverse programmes and uses of a design in order to activate spaces. Not only does this let the users take temporary possession of the place, but also allows a dialog with and in between the spaces. In the Radix Pavilion the provision of different spatial qualities allows for varying appropriations. The elliptic entrance volume allows for a gradual transition from the exterior towards the interior. This promotes the passing through the space; it hints at the space withholding different experiences on the inside. The spherical space facing the water and the roof overhanging over the steps allows for privacy and temporary resting. Here one can take possession of the space and facilitate a dialog with the surroundings, the interior space and other visitors. The small cutout created between the volumes can be explored by children and visitors, which creates an interest and curiosity of what may lay behind either side. It is an inviting feature as it is permeable yet less approachable. The third, larger volume with its visible thoroughfares allows for passing through and functions as a inviting feature. In general the three varying sizes and qualities of the pavilion allow for different appropriation of use as varying programs may be present.
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Week Two
Isometric
Radix - Aires Mateus The isometric shows the Radix Pavilion, designed by Aires Mateus which was exhibited at the Venice Biennale in 2012. This angle was chosen in order to emphasize one of the main parts of the structure - the central gathering space, facing the water. As the general composition of the pavilion consists of 4 simple shapes, it was important to model these precisely. The overlapping of the spheres creates unusual moments within the architecture and is a crucial part of the composition. Whilst actively modeling these moments became apparent. The layout of the spaces has great impact on the circulation through the spaces. Even though there is no straight line to follow, the directionality of the ellipsoid guides the visitor towards and into the interior. The tip arching over the river invites one to move towards that point of attraction. The cutouts in between the physical boundaries creates interest and another point of attraction. The directionality of the cladding facing the interior draws one into and past the centre of the construction and facilitates movement and circulation. There is no physical door to be opened but rather a smooth introduction to the interior volumes, creating a soft threshold. The light penetrating the volume contributes to this effect. The changing scale of the interior describes another threshold as they mark a separate spatial and light quality once entered. The juxtaposition of soft (intangible) and sharp (physical) thresholds creates further interesting moments within the pavilion. The concept is to combine the vernacular and the modern in one piece of work. The construction hints at the vernacular venetian architecture with the arches being translated into this project through the cutout volumes. There is a flowing continuity in the built structure and the intangible setting of the piece.
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Week Two Diagrams
Circulation Diagram
Threshold Diagram
In this diagram explores the circulation through and around the pavilion. Prmimary entry is through the largest volumes. Main axis is through the ellipsoid and the smaller sphere. The movement through the space comes to a rest at the central gathering point facing the water, which forms an attraction point.
The first threshold in this diagram is expressed through level changes on the ground floor. The varying interior volumes represent a further one as they represent different spatial experiences once entered. A thirds over arching threshold is the actual exterior and interior relationship, The lighter areas towards the exterior of the building are more inviting, as the interior darker areas provide privacy
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Appendix Process
1. Construction of a simple cubic volumC
2. Finding location and dimensioning of the spherical and elliptic volumes
3. With the demand “BooleanDifference” the volumes where deducted from the main cubical volume
4. The surface conditions were later added to represent the stairs and the river running under the over arching edge of the pavilion.
5. To represent the internal cladding the lines were added with the “Project” command.
6. The finalised model in its relationship to the surface condition.
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Appendix Process
7. The base of both diagrams are exploded isometrics taken from the Rhino file.
8. “Make2D” allows the extraction of simple linework
9. After having cleaned up the linework in Adobe Illustrator, the circulation information has been added.
10. For the second diagram the process of the first was repeated.
11. Again “Make2D” and AdobeIllustrator were used to create clean linework.
12. Threshold information were added after.
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Appendix Process
13. 9am sunpath in September 2012 in Venice. Approximate position taken from Google Maps and photos.
14. 12pm sunpath analysis in Rhino, the pattern of the gathering spaces become visible.
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15. 3pm sunpath anaylsis makes gathering spaces obvious. Times were chosen due to anticipated high use times.