DIGITAL DESIGN
SEMESTER ONE MODULE ONE
GEORGIA GRIFFITHS, 837010 MICHAEL MACK, STUDIO FIVE
WEEK ONE: reading
Zeara Polo, A. 2010. ‘Between Ideas and Matters’ According to Zeara-Polo, the diagram does not play a representation 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? Diagrams are based on the concept of abstraction. They are a succinct way of organizing large amounts of complex information relating to space and matter. That being said a diagram is not directly similar in form to the organization it establishes. Signs are singular elements that represent information in one of three ways; either as an icon, index or symbol. Icons are qualitative expressions of dynamic objects, with their form sometimes similar to the objects being described.
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An index on the other hand behaves in a quantitative manner, having a binding relationship between its form and the content described. Finally, symbols are signs, that through formal representation, refer to a dynamic object. Signs are representational while diagrams use a combination of physical constructs and concepts, arranged in a particular manner, to convey information.
WEEK ONE: precedent analysis
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Toyo Ito’s Serpentine Pavilion was modelled in a number of stages. Using Rhino, simple geometric forms were extruded to produce the end result.
the solid and glazing components, each piece was offset from the frame to allow for greater differentiation between pieces.
The first stage involved the outlining of the basic form from plans and sections. From here each side of the main structural metal frame was aligned with the correct edge of the plan view, before being extruded to the required depth.
Finally the stairs were modelled and bolts holding the glazing in place created, using the array tool to space them around each individual glazing panel.
Solids and glazing were modelled. Through the process of constructing
The images provided aided in the identification of whether an opening was filled with either glazing or a solid piece.
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1. Outlining main structure 2. Main frame extruded from z 3. Solids modelled 4. Glazing modelled 5. Final details added (stairs and glazing bolts)
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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 appropriation of use. Herzberger emphasises the need to design without compromising functionality. Strict design lends itself to a situation where there are limitations on the ‘appropriation of use’. Designing space in architecture is no exception, as it should be receptive to different situations. The individual must be able to use a space to suit their needs. In the case of the pavilion, in particular Toyo Ito’s Serpentine Pavilion, some design elements can encourage the manipulation of an environment to suit an individual’s needs,
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as pavilions are seen as places of pleasure. Limited fixed structures and a lack of internal walls—flowing spaces—allow for the rearrangement of temporary furniture, a customisation of space’s. Places to sit offer temporary appropriation, though it is the unexpected use of architectural elements that highlight a spaces functionality. The use of the openings in Ito’s Serpentine Pavilion main structure as seating is a prime example.
WEEK TWO: Isometric
The following isometric drawing was modelled using Rhino and refined in Adobe Illustrator. An emphasis was placed on giving detail to the meeting of different surfaces to highlight the openings within the structure. Each layer of the pavilion was modelled one at a time to create the complete structure. What may seem to be a complex, yet random arrangement of cut outs is based on an algorithm of a cube that is expanded and rotated. Circulation paths within the pavilion are quite linear in form. This is in part due to the positioning of entrances and internal objects. In conjunction with the entry points, additional openings in the structural walls form alternative thresholds, connecting the natural environment with the interior of the pavilion. The spaces formed in-between increase the functionality of the pavilion, being used as seating and areas for children to play in.
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WEEK TWO: diagrams
The two diagrams (right) were produced using a combination of Rhino and Adobe Illustrator. The circulation diagram provides an understanding of the primary circulation routes throughout the pavilion. Main routes are represented by bold arrows while lighter ones present secondary routes. The position of the pavilion on site may be seen to influence the primary circulation routes. An understanding of the role that the various openings play within the pavilion have been explored in the threshold diagram. While these openings serve the function of being entry/exit points, connecting the inside with the outside, they are alternatively places to sit. The edges of each shape help define personal space and create greater privacy.
Serpentine Gallery
Kensington Gardens
Kensington Gardens
Car park
Circulation diagram
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Threshold diagram
APPENDIX: model detail
The following highlights the detailed modelling of the connection points between elements. Emphasising these clearly defines the structural frame, solids and glazing. This allows the threshold point of transition from internal to external, revealing the spaces inbetween.
Capturing the purpose of these various openings, in shape and size was important. The unexpected use of these openings as seating shows the functionality of the pavilion and appropriation of its spaces.
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APPENDIX: diagram construction
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The process of creating each diagram was similar to the making of the main isometric. Rhino was used to model the building, add in circulation routes and define openings within the structural frame. Various line weights and colours were used to emphasise particular elements in Adobe Illustrator.
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Serpentine Gallery
Kensington Gardens
Kensington Gardens
Car park
BIBLIOGRAPHY PAGE TWO Guttridge, Nick. Serpentine Gallery Pavilion. 2002, photograph, Nick Guttridge, London. Accessed March 10, 2018. < http://www.nickguttridge.com/serpentine-gallery-pavilions/ d7ltunf1wlvpkk9a6mbypbnvkxw6ji> PAGE THREE Makda, Raf. Serpentine Gallery Summer Pavilion, 2002, photograph, The Daily Beast, London. Accessed March 9, 2018. <https://www.thedailybeast.com/pritzker-prize-winner-toyo-itosarchitecture-masterpieces-photos> PAGE FOUR Brittain, James. Serpentine Gallery Summer Pavilion, 2002, photograph, The Daily Beast, London. Accessed March 10, 2018. <https://www.thedailybeast.com/pritzker-prize-winner-toyo-itosarchitecture-masterpieces-photos> PAGE SEVEN Ito, Toyo. Toyo Ito Serpentine Pavilion, 2002, photograph, The e-architect, London. Accessed March 9, 2018. <https://www.e-architect.co.uk/london/serpentine-gallerytoyo-ito>
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