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)
According to Zeara-Polo, while signs and symbols function as representational vehicles for the qualities, impacts, and prestige of “dynamic objects”, diagrams do not represent the objects they depict, instead they “mediate between physical constructs and concepts or percepts on an organisational level” (p. 239). This means that diagrams are used as tools for describing spatial and conceptual relationships and describes the programming of a space for its occupants. A diagram’s existence between the physical and conceptual also enables it to act as a “projective”, conveying sensations and moods. This transcendence from representation can facilitate the development of new intangible worlds.
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Week One
Precedent Analysis
Far left: Gollings, John. MPavilion 2015. Photograph. Dezeen. October 5, 2015. Accessed 12 March 2019. https://www.dezeen.com/2015/10/05/amandalevete-architects-mpavilion-queen-victoria-gardensmelbourne-australia-fibreglass-forest-petals/ Above left: Roof plan without petal lines to show rib structure and the slight difference between the petal canopy and flooring coverage. Also represented is the density of the central canopy when compared to the outer, 3-pronged canopy. Above right: The hierarchy of petal heights were derived by the provided roof plan image. Here, an area where the canopy does not completely cover the timber flooring is shown. Below left: The central canopy is tilted in order to allow for the drainage of rainwater. The outer canopy petals remain parallel to the ground.
The Amanda Levete Architects’ MPavilion 2015 found itself pushing the boundaries of material science at the time of its inception. As a result of rigorous innovation, AL_A managed to create a pavilion that features thin, lightweight fibreglass panes resembling petals that are supported by durable carbon fibre stalks and an intricate network of crossbeams to form a canopy. For the purposes of comfort and creating a divide between interior and exterior spaces, a timber floor was also installed. In order to accurately represent the vision of AL_A for the MPavilion 2015, it was necessary to meticulously model each component of the MPavilion as well as accurately represent the broader spatial qualities of the pavilion design.
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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)
As a conceptually-driven architectural intervention, Amanda Levete Architects’ MPavilion (2015) does not instigate a predetermined function. Instead, it provides users with the ability to explore and experience the space by themselves. The MPavilion’s design investigates the transition between perceived interior and exterior spaces and discards the use of walls and large physical obstructions to ensure its ethereality and realise its fluid spatial qualities. In addition, the lack of a defined entrance or exit, save for movement dictated by the planter beds that surround parts of the timber flooring, aids the pavilion in creating a fluid, non-prescriptive space.
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Week Two Diagrams
Circulation Diagram
Threshold Diagram
Given the Pavilion’s placement in Queen Victoria Gardens, there are
Amanda Levete Architects designed the MPavilion to emulate the
three general directions from which a visitor can approach the structure:
feeling of entering a forest and subsequently blurred the lines between
from the rest of the Gardens to the south, from the City to the north and
being inside and outside the structure. I interpreted the intensity of
from the NGV / Art Centre directly to the west. This informs where people
the feeling of being within the forest as a product of the density of the
would approach the Pavilion during the day as opposed to at night.
canopy overhead and the ground texture.
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Appendix
Process
1. Modular Design - A Pavilion of Two Parts The Pavilion features two types of petal modules, each made of three separate components: a thin fibreglass petal (top), a carbon fibre rib structure (middle), and carbon fibre stalks (bottom) that integrate into the timber flooring.
3-Pronged Petal Form
6-Pronged Petal Form
Isometric
Isometric
3-Pronged Petal Form
6-Pronged Petal Form
Exploded Isometric
Exploded Isometric
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Appendix Process
2.1 Tracing - Fibreglass Petal Forms Creation of the 3-pronged outer petal and 6-pronged inner petal forms
The 6-pronged petal form can be derived from a manipulation of the 3-pronged petal, placing the accurate modelling and replication of the smaller module as the first priority.
One third of the 3-pronged petal form was created by using Offset on both sides with rounded caps and corners.
Both the inner and offset lines were then duplicated with gumball and rotated 60 degrees twice to complete a rough tracing of the 3-pronged petal form.
Excess lines are then deleted, leaving behind the traced outline of the petal form. The remaining lines are then joined.
To create the 6-pronged petal variant, the 3-pronged petal is duplicated and rotated around a central point. A similar process of filleting and deleting lines is applied here.
Once the two fibreglass forms are traced as curves, they can be extruded with ExtrudeCrv.
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The harsh corners are then rounded using the Fillet command to match the radius of the rounded caps to allow for multiple petal forms to tessellate.
Appendix
Process
2.2 Tracing - Rib Structure Geometries
Creating the rib structure was quite easy with the use of the Fillet command once the radii of the forms were determined by tracing the scaled versions of the images provided.
r = 500mm
r = 90mm
r = 80mm
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r = 50mm
Appendix Process
2.3 Tracing - Carbon Fibre Stalks + Stalk/Rib Interface Extruding the carbon fibre stalks and connecting them to the rib structure.
The diameter of the fibreglass stalks could be determined from the elevation drawing that was provided.
The stalk was then extruded from the correctly sized curve.
Excess lines are then deleted, leaving behind the traced outline of the petal form. The remaining lines are then joined.
To create the 6-pronged petal variant, the 3-pronged petal is duplicated and rotated around a central point. A similar process of filleting and deleting lines is applied here.
The Trim command was then used to remove the excess lines that were overhanging the petal curve.
The process is then repeated for the 6-pronged petal. Intermediate cutting lines are added to remove the excess lines that exist within the larger petal form.
2.4 Tracing - Fibreglass Petal Accents Creating the printed lines that sit on top of the fibreglass petals.
To represent the lines that are printed onto the fibreglass panes, I created 13 lines, 20mm apart and overlaid them on top of the petal form curve.
I then grouped the lines and duplicated and rotated the lines in 15 degree increments until a full circle was made / 12 rotations were complete.
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Appendix
Process
2.4 Tracing - Timber Flooring Extruding the carbon fibre stalks and connecting them to the rib structure.
The diameter of the fibreglass stalks could be determined from the elevation drawing that was provided.
The stalk was then extruded from the correctly sized curve.
The timber panels are then arranged according to the provided floor plan and the floor is extruded.
The coffee stand / seating is also extruded and the flower beds are represented as curves, later to be filled with a texture.
Excess lines are then deleted, leaving behind the traced outline of the petal form. The remaining lines are then joined.
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To create the 6-pronged petal variant, the 3-pronged petal is duplicated and rotated around a central point. A similar process of filleting and deleting lines is applied here.