DIGITAL DESIGN M1 Journal (2018)

Digital Design - Module 01 Semester 1, 2018 Hong Peng Yu (913511) Chelle + Studio 2

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?

A diagram is a schematic representation of a physical construct and concept on an organizational level of a specific space and matter. It visually projects the formal relationships (correlation between scale, location, time and movement) and performances within the space. Diagrams condenses information in a reductive manner, to show sensations and affects of an specific space.

Whereas, signs and symbols are representational of the qualities, functions and properties of an object. It can be interpreted at the individual level, as the relationship between form and content is abstract and there is no correlation to its physical performance.

2

Week One

Precedent Diagrams

Image 1.0.1: Roof plan, elevations & light diagram

Image 1.0.2: Glazing & openings

Source: Pratt Arch 211 Representation 3 Fall 2014, Instructor: Ezio Blasette

Source: Harvard graduate school of design, summer 2015, Instructor: Mark Mulliagn

3

Week One

Precedent Diagrams Source: Pratt Arch 211 Representation 3 Fall 2014, Instructor: Ezio Blasette Source: Harvard graduate school of design, summer 2015, Instructor: Mark Mulliagn

Image 1.0.3: Sectional Diagram for East Elevation

Image 1.0.5: Exploded Isometric Diagram of Materiality

Image 1.0.4: Site Plan

Image 1.0.5: Floor plan, furniture & fixtures

Source: tozai-as.or.jp

Source: Harvard graduate school of design, summer 2015, Instructor: Mark Mulliagn

4

From the diagrams, the physical construct of the pavilion can be observed. This includes, the scale, proportion, claddings, and the relationship between the facades and the roof.

Week One

Source: Photographs by Sylvain Deleu

Precedent Research

Architect: Cecil Balmond, Toyo Ito & Arup Location: Kensington Gardens, London, United Kingdom Area: 309.76 sqm (17.6 x 17.6m) Project Year: 2002 Client: Serpetine Gallery Pavilion Design Concept: - Modern, asymmetrical, non-ornamental & rational - Base on algorithm that expands & rotates cubes to form intersecting lines which formed the geometry (triangles & trapezoids)

Image 1.1.1: Exterior facade

Image 1.1.2: Aluminium & glass cladding

Image 1.1.3: Interior & furniture

Image 1.1.4: Interior & seatings

Image 1.1.5: Roof support and cladding

The images were used for the basis of visualising the occupation of the space defined by the pavilion structure. Moreover, it informs about the possible circulation patterns through the indication of the stairs and ramp. Furthermore, the placement of the furniture and fixtures may also suggest programs that may occur within this space.

- Attempts to blur the boundaries between walls, floor & ceiling, and between interior and exterior through the unified use of materials Materiality (Image 1.1.5): - Glass glazing (transparent) - Aluminium panels for cladding (translucent) - Steel support blades (translucent structural frame) - Overall sharpness of form & visual infinitely repeated motion Access & circulation (image 1.0.4 & 1.0.5): - Stairs & openings in the pavilion on front, back & right of the facade - Ramp & opening on left facade (wheelchair access) Programs: - Talks on architecture - Film screening - Cafe (day) Construction: - Prefabricated & assembled on site

5

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 proposes that design should be flexible and adaptive. In contrast, extreme functionality in design can inhibit potentials that may arise from different situations, since human behavior can be unpredictable and even unintentional. In Toyo Ito’s pavilion design, even though the form is explicitly define by the algorithmic intersection of expanded and rotated cubes that formed dynamic geometries, the internal space is defined by a flat base plane that spans over the edges of the frame, with furniture that serves for the cafÊ that operates within the pavilion. Otherwise, the internal space can be adapted to differing uses such as lecture series, musical performances and public gatherings. Moreover, the deliberate and informed openings formed by intersecting steel frames and the expansive ground plane that protrudes over the boundaries of the frame, which is partially cladded with glazing. It facilitates a spontaneous use and temporary appropriation of the space, encouraging activities such as play, rest and read. Furthermore, the overhanging edge of the base plane also can be appropriated as a bench, but without the associations. Rather, it provides a welcoming gesture for people to occupy the space according to their needs and behaviours.

6

Week Two

Isometric

Isometric (NW) The Toyo Ito Pavilion was modelled base on Image 1.0.1 & 1.0.2. It was relatively difficult to extract the lines as variations existed between the two reference images.

Therefore, I also referred to the three-dimensional model provided on LMS as well as the photographs by Sylvain Deleu. I have also explored using grasshopper to extrude the surfaces into its relative depth (steel support (500mm), aluminium cladding (500mm), glazing (10mm)), since I was unsure about the actual depth of each cladding and the frame.

I have selected the isometric from North West, as it shows the main access entrances and the wheelchair ramp to the internal space. This is indicative of the architect’s consideration and intention for the space to be accessible by all potential occupants.

The isometric drawing communicates the dynamic forms of the façade, the mirrored geometry in the internal tiling from the roofs and walls, as well as the architect’s ambition to “blur the boundaries between walls, floor and ceiling.” (shown in the consistent and repetitive materiality). I have chosen to explicitly show the materiality of the individual elements of the pavilion through different tones of grey and different opacity. The steel frame is in the darkest grey compared to the aluminium cladding in light grey, this is to show the structural properties of the material (steel is stronger than aluminum, thus is used to support the whole structure). The glazing is represented using black at 20% opacity, so objects behind glass can be observed.

Through modeling the pavilion, it was observed that the structure is very technical and requires precise engineering in terms of erecting the structure and joining the different components together (fitting the glazing and aluminium cladding into the steel support). Therefore, the most appropriate method for construction would be prefabrication, as the manufacturing environment can be very controlled to meet the demands of the precision required of the architecture.

7

Week Two Diagrams

Reception Area

Improvised Area

Recreational Area

Reception Area

Threshold Transition

Circulation Area

Boundary & Resting Zone

Circulation & Programs Diagram

Circulation & Programs Hatching

The circulation is influenced by the placement of the furniture or fixtures that may obstruct the path of a person who tends to the shortest path from point A to Point B. Such obstruction can also be strategized to increase the possibility for attachment and occupa-

The diagram conveys the possible programs within the certain areas of the ground plane, as well as the circulation area. Various areas of the space is undefined and the function can be improvised base on people’s behaviours and actions through contact with the space

tion within a space.

Threshold Transition

8

Week Two Diagrams

Threshold Diagram The thresholds have created a gradual transition between the adjourning worlds of the natural context and the built form through the changing permeability of the material (steel to aluminium to glass to void). It also maintains connection and contact between the internal and external space, as the glass allows sunlight to penetrate through the roof radiating the atmosphere and casts a dynamic shadow through the alternation of glass and aluminum claddings. Additionally, the openings admit air and smell and other sensations from the surrounding environment into the internal space. Thereby, it is in a way of letting nature into the internal space. The transparency of the glazing also captures a framed view of the surroundings, which accommodates the overlapping ideologies of both spaces.

9

Week Two Diagrams

Entrance

Entrance

Plan

Entrance

Entrance

10

The plan shows that the roof the pavilion is cladded with alternating aluminium & glass. The depth and volume of the aluminium cladding casts a dynamic shawdow on the tiled platform. While the permeability of the glazing allows sunlight to penetrate through to the internal space

Week Two Diagrams

Elevation Diagram The South Elevation of the pavilion shows the various openings in the pavilion. This allows for ventilation and air circulation. These voids also created a private space for individuals as the frames intersect with the base of platform of the structure. The elevated platform itself can be seen as a “bench� near the entrances of the pavilion, this acts as a welcoming gesture for people to populate the space. It can also be observed that these openings are very much deliberate & informed. Firstly, it creates an active dialogue between the internal space and the external environment. Secondly, the space also adapts to the human scale. The dimension and the shape of the gap is proportional to the human proportion and anatomy. Moreover, the void is just the right size in terms of height and depth, which does not compromise the comfort of the user and can also provide shelter. It also provides a threshold with the internal space of the pavilion: providing users of both spaces with privacy. Perhaps, it acts as transition betweeen the public domain to a more semi-private domain. Lastly, these openings can be an attempt that allows the occupants to be immersed in between the worlds of nature and architecture.

11

Appendix

Modelling Process

Step 1: Trace, align and offset (5mm)

Step 2: Trim

Step 3: Planar surface

Step 4: Trim

Step 5: Assemble

Step 6: Extrude frame (500mm)

Step 7: Extrude aluminium cladding (500mm)

Step 8: Extrude glazing (10mm)

Step 9: Extrude foundation/ base & access

12

Appendix

Grasshopper: surface extrusions

Grasshopper: frame extrusion

Grasshopper: glazing extrusion

solid

Grasshopper: solid extrusion

Solid extrusion reference

13

Appendix

Isometric Process

Isometric NE, SE, SW, NW

14

Appendix

Shading Process

Glazing opacity (black): 10%, 20%, 30%, 40%

15

Appendix Hatching

Boundary & resting zone

Reception Area

Recreational Area

Circulation Area

Improvised Area

Earth

Reference

Jonathan Glancey. July 8, 2002. “Now you see it.” The Guardian. Access March 5, 2018. https://www.theguardian. com/culture/2002/jul/08/artsfeatures Detail Inspiration. 2002. “Temporary Pavilion in London” Detail Inspiration. Accessed March 5, 2018. https://inspiration. detail.de/temporary-pavilion-in-london-106495.html?lang=en Serpentine Galleries. 2002. “Serpentine Gallery Pavilion 2001 by Tyo Ito.” Serpentine Galleries. Accessed March 5, 2018. http://www.serpentinegalleries.org/exhibitions-events/serpentine-gallery-pavilion-2002-toyo-ito-and-cecilbalmond-arup Archdaily. March 18, 2013. “Serpentine Gallery Pavilion 2002 / Toyo Ito + Cecil Balmond + Arup” Archdaily. Accessed March 5, 2018. https://www.archdaily.com/344319/serpentine-gallery-pavilion-2002-toyo-ito-cecil-balmond-arup

17