Digital Design - Module 01 Semester 1, 2018 Georgina Barnes (914642) Samuel Lalo + Studio 12
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)
Diagrams are reductive in nature. A simple diagram can produce many complex design outcomes when combined with information and material. Whilst diagrams require mediation and the input of information to become drawings and enter real space, signs and symbols are a precise representation of information. Unlike signs and symbols, diagrams do not represent an object or concept, but instead mediate between physical constructs and concepts in an organisational manner.
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Week One
Precedent Analysis
1. Simplistic cube
2. Insert spheres
3. Remove sphere volumes from cube Fig. 1. Roland Halbe, Aired Mateus- Radix, 2012. To model the design, I utilised the provided plans as a basis. I began with a creating simplistic cube. I then added the spheres according to their measurements and positioned them according to the plan. I later subtracted them with the ‘Boolean Split’ command to create the voids within the structure.
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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 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)
Herzberger argues that a space is most effective when it’s “accommodating potential” is maximised to result in a design that is “receptive to different situations”. Spaces that are programmed to fulfil only one function are constrained and cannot foster divergent use. The Radix Pavillion by Aires Mateus allows for divergent use primarily through its reductive form. The design focuses on the combination of solid and voids to form the pavilion structure. The space is simplistic through this combination of rounded forms and varied heights and subsequently allows for divergent use within different areas of the structure. The structure and varied heights also allow for different thresholds to be created in the design through evoking varying senses of intimacy.
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Week Two
Isometric
Radix Isometric My isometric drawing aims to visually describe the form, materials and context and use of the Radix pavilion. As shown prior, the main modeling process for the Pavilion included subtracting spheres from a basic cube shape. This resulted in a hollow structure that is similar to the method of construction utilised to build the actual pavilion, in which metal panels were connected to an internal steel structure that also resulted in a hollow form. I chose to include the hidden lines of the structure and the lines of the internal panels as they provide more information on the design that could not be seen otherwise due to the isometric perspective. I modeled the context of the design by referencing Google Earth pro in which the Pavilion’s placement and orientation in relation to the river can be seen. I chose to include this as it gives context to the design and how the space is used and circulated through. I chose to include texture, colour and shadows in my isometric to further describe the form and its surroundings. Through the modeling process, I gained the understanding of where circulation could occur through looking at the heights of the arches and determining where people would be able to pass through. Through modeling the context of the river, I also learned that circulation in this area would be difficult and less likely to occur. Modelling the design also provided insight into the thresholds of the structure, such as which areas were more public and which were more private and intimate. This was again largely influenced by the height of the arches in certain areas.
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Week Two Diagrams
I chose to divide both diagrams into structure, form and context as I believe this is an effective way to analyse thresholds and circulation / occupation in relation to the Pavillion.
Thresholds
Circulation / Occupation Structure Voids
Structure
Aires Mateus architect’s stated
Accessible space
the pavillion form was based on
The first diagram outlines the floor plan of the design and
solids and voids. The
which areas can be circulated
combination of these elements
through.
form physical thresholds.
Solids Form Circulation paths High points
Form Intimacy
People are most likely to walk through the highest point of an arch. Therefore, the high points
The varying heights within the
within the openings of
form influence feelings of inti-
structure would facilitate the
macy, as was intended by the
most circulation.
architects. Context Context Public space Private space
Wind Shadows Occupation
As the structure is quite sheltered in relation to its open
The context of the design in relation to the natural environmental elements of sun and wind influences the way that
context, it divides the space
the space is occupied. From this
into thresholds of more public
analysis, the area with the
and private space.
highest density of occupation can be discerned.
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Appendix
Process
Isometric modelling
3. Basic structure
5. Positioning
This is the basic model I was left with after following steps 1, 2 and 3 as mentioned prior.
I used the ‘Picture Frame’ command to place an image of the pavillion within its context into Rhino. Using this as a reference, I rotated and arranged my structure so it would be in the correct position to assist with later context modelling.
Fig. 2. Google Earth Pro, Gallery of Venice Biennale, 2012.
4. Adding ribs
6. Context modelling
I drew lines to reflect the interior panels of the design onto the ground plane. I then trimmed them to fit the shape of the dome I wanted to place them upon. Finally, I used the ‘Project’ command to transfer these lines onto the structure.
Using the Google Earth image as a reference, I then modelled the site.
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Appendix Process
Isometric rendering
6. Import design
8. Render overlay
After using the ‘Make2D’ command to flatten my design, I imported the resulting lines into Illustrator.
Finally, I imported an image of the rhino file in render mode and added it over the collage layer to add dimension to the image. I lowered the opacity so that the collage images could be seen through this overlay.
I adjusted the line weights and line types to emphasise the structure and represent which aspects were hidden from view.
7. Collage Using various texture image sourced online, I created a digital collage in Photoshop so that my isometric would portray the materiality of the structure and its context.
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Appendix
Process
Diagram design process 9. Diagram design process In order to decide what diagrams I wanted to include and what conditions they would describe, I created a mind map. The key ideas of thresholds and circulation were central. I decided to include occupation alongside circulation, as through my research, there was very little evidence of movement throughout the structure. Still occupation appeared to be the function that the structure facilitated most. I surrounded these key terms with aspects I believed help to analyse the pavilion and therefore wanted to include in my diagrams. I linked these ideas up with my key terms to determine what ideas I would explore in which set of diagrams. Through this mind mapping process, I realised that the sub categories I linked to the key terms could be linked to either form or context. Therefore my diagrams analysed aspects of form and context in relation to thresholds and circulation / occupation through the sub-categories.
Diagram creation 10. Diagram basis I created my diagrams within Illustrator. I used this outlined version of my final isometric as the basis for all of my diagrams, adding and subtracting elements where needed.
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References Reference image sources:
Research references:
Figure. 1.
“Venice Biennale 2012: Radix / Aires Mateus,” David Basulto, Archdaily,
Halbe, Roland. Aired Mateus- Radix, 2012, Digital photograph. DIVISARE. Accessed March 6, 2018. https://divisare.com/projects/209321-aires-mateus-roland-halbe-radix
August 28, 2012, https://www.archdaily.com/267567/venice-biennale-2012-radixaires-mateus
Figure. 2. Google Earth Pro, Gallery of Venice Biennale, 2012. Accessed March 5, 2018.
Collage image sources: Stockvault. Sea wave abstract texture, 2017. Accessed March 8, 2018. https://www.stockvault.net/photo/239663/sea-wave-abstract-texture
“Radix: Aires Mateus’ common Ground at the Biennale of Architecture,” Malcolm Clark, archilovers, September 3, 2012, http://www.archilovers.com/stories/1346/radix-aires-mateus-common-ground-at-the-biennale-of-architecture. html ““RADIX” by Aires Mateus in the Venece Biennale,” Carmen Ruiz, Metalocus, October 10 2012, https://www.metalocus.es/en/news/radix-aires-mateus-venecebiennale Lund School of Architecture. “Francisco Aires Mateus Lecture at Lund Architec-
PSD Graphics. Brushed gold metal texture, 2009. Accessed March 8, 2018. http://www.psdgraphics.com/textures/brushed-gold-metal-texture/
ture Symposium 2013” (video). 2013. Accessed March 8, 2018. https://vimeo. com/80729220.
Seamless-pixels. Beach sand seamless texture, 2014. High Resoution Seamless Textures. Accessed March 8, 2018.
“La Biennale Di Venezia,” 2017, http://www.labiennale.org/en
http://seamless-pixels.blogspot.com.au/2014/12/beach-sand-seamless-texture2048x2048.html
“Almanac: Historical Information,” MyForecast, 2018, http://myforecast.co/bin/cl imate.m?city=67449&metric=false
Lam Chuam. AA2279 RM – WEATHERED STEEL, 2016. Accessed March 8, 2018. http://lamchuan.com/portfolio-item/aa2279-rm-weathered-steel/ Wild Textures. Free Stone Textures, 2018. Accessed March 8, 2018. http://www.wildtextures.com/category/stone/