DIGITAL DESIGN // Module 1 // Jeremy Bonwick

MAIN ISOMETRIC

CIRCULATION DIAGRAM

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Digital Design - Module 01 Semester 1, 2018 Jeremy Bonwick 697718 Han Li // Studio 16

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 argues that the prevalence of new technologies has facilitated “the visualisation [of] other parameters in architectural tools (such as time, light, temperature, weight, etc) that we were not able to visualise previously” (2010, p. 238). The diagram does not seek to present the form or arrangement of structure in a representational fashion, whereby the form would suggest a symbolic meaning or be read as a sign and instead by simply driven by a diagrammatic arrangement of space. The diagram has the ability to break from the confines of semiotic which proliferate modernity and instead find a form without implicated meaning attached. Therefore it becomes, in Zeara-Polo’s view, a “tool that describes relationships and prescribes performances in space” in a reductive nature, condensing very complex data or knowledge (p. 239).

Diagram is seperate from signs and symbols as its meaning is not directly attached to its form — that is to say that a diagram “dos not play a representational role” but instead works on an “organisational level” (p. 239). The linear and singular relation between the signifier and signified is absolved in diagrams which can “produce organisations with multiple readings” (p. 238).

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Week One

Precedent Analysis

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4 1. Litvin, Michelle, Zaha Hadid’s Burnham Pavilion, 2009, digital photo. archilovers.com/projects/18289/burnhan-pavilion-hadid 2. The elevations and plan were arranged in Rhino and the linework traced in three-dimensions 3. The skeleton was produced from curves and lofted

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4. The pink interior skin was created in a similar manner

The Burnham Pavilion by Zaha Hadid proved a challenging task to model, with a series of curves needed to create the skeleton that defined the shell-like shape of the tensioned fabric exterior. By tracing these curves from the elevations in two dimensions and then projecting backwards onto the series of angled plane the shape could be defined. The openings were similarly traced and punched through the shell.

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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 talks of the appropriation of use in the form of architectural gestures which have varied uses, most notably in his examples, those that afford seating and resting opportunities. These are few and far between in the Burnham pavilion which instead provides an experiential space, one that is design to be transient and moved through. The architecture, with its broad and sweeping curves suggest the dynamism of movement, with the visitor — being only that, a visitor not inhabitant — only occupying and pausing in the space momentarily before moving on.

The ramps that lead into the entrances act as a mediator of movement, directing visitors into the structure to take advantage of certain vantage points. By approaching from these angles, the curved walls are visible first and only later does the visitor notice the second entrance which would serve as their exit, perhaps allowing them to engage in the space before being prompted to move on, through and out of the pavilion.

Herzberger notes that “spontaneous contact” with a space requires “a certain casualness, non-committalness” where “you can break off contact and withdraw as soon as you like” (2005 p. 178). Hadid’s pavilion gives the visitor access to the experience of the space and presents them with the second exit opening as this point to “break off contact” with the building — the time spent in the pavilion therefore is the “spontaneous contact” Herzberger refers to.

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MAIN ISOMETRIC

CIRCUL Week Two

Isometric

The Burnham Pavilion by Zaha Hadid

In modelling the pavilion I focused on incorporating the interior space as well as the shell of the exterior.

Ultimately the circulation of visitors is dictated by this, much smaller, interior footprint, which focuses visitors to the centre of the space. The other key feature I put detail into including was the level change and ramps leading up to the entrance openings. These direct the flow of foot-traffic into the pavilion and dictate the angle on entry — from these angles the visitor is less likely to see the opposite opening (the exit) as they enter, perhaps forcing them to linger in the interior longer rather than simply passing through. The pavilion is primary a visual experience — with the ability to touch the surfaces inside prohibited by the way in which the

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Entrance

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walls curve away from the small trafficable area in the centre — movement within the structure is limited, therefore the sweeping curves of the interior wall form the bulk of the experiential element. Light also plays a major role in the experience of the space, providing a connection to the outside as well as breaking up the interior with shadows.

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Isometric 1:75 0

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Isometric 1:75 3000mm 0 1000

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MAIN ISOMETRIC CIRCULATION DIAGRAM MAIN ISOMETRIC CIRCULATION DIAGRAM Week Two

CIRCULATION DIAGRAM THRESHOLD DIAGRAM CIRCULATION DIAGRAM THRESHOLD DIAGRAM

Diagrams

THRESHOLDTHRESHOLD DIAGRAM DIAGRAM

Roof Openings Permitting Light Roof Openings Permitting Light Entrance

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Main Structure

Main Structure

Outer Shell with Openings Outer Shell with Openings

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Structure Overhang

Structure Overhang

Exterior Footprint

Exterior Footprint

Interior Floor Space

Interior Floor Space

Skeletal Frame StructureSkeletal Frame Structure

Circulation Paths (colours Circulation correspondPaths to (colours correspond to opening visibility below) opening visibility below)

Interior Wall and Light Well Interior Wall and Light Well Opposite Opening Obscured Opposite Opening Obscured Opposite Opening Visible Opposite Opening Visible

Circulation 1:200

Thresholds 1:200

Circulation 1:200

Circulation Diagram

Threshold Diagram

The pavilion controls circulation by a concentration of space, with a relatively small interior floor compared to that of the overall structure.

The visibility of the opposite opening also the affects flow as shown.

Highlighting the mediating qualities of the interior wall and the roof opening — the later of which not only provide a connection to the outside but also permit it to enter in the form of beams of light.

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Thresholds 1:200

Appendix

Process

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1. Series of planes arranged in plan create the shape of the shell.

2. Traced linework was projected back onto each of the planes to define the shape in three-dimensions.

3. The openings were similarly traced in one-dimension from the plan and then projected onto the lofted surface. The shell was then split with these curves to create the openings.

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Appendix Process

4. Early tests of the circulation flow diagram, looking at how visitors might enter the pavilion via the ramp access, with flow dictated by these.

5/6. Modeling of the interior walls formed a key part of the investigation given the relatively small floor-area on the inside in comparison to the outer surface. This modeling revealed the light-well in the inside of the shell. Its shape is again derived from the sections and plans.

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Appendix

Process

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7 7. A render of an earlier version of the pavilion to examine how shadows play a role on the inside of the structure. In the diagrams this is not shown in the fine detail of how the openings’ slits of slight would move around the ground and walls of the structure across the day and change the experience of the space.

8. Sketching and brainstorming for the diagrams.

9. A hypothesis is that the angle from which a visitor approaches the pavilion affects the experience of the space. Approaching the opening when the opposite opening is also visible gives a sense of exit and may not let the visitor linger in the space. Whereas, in image 9, when the visitor is presented with the interior wall there is no suggestion of circulation, they will maybe linger in the space before heading towards the exit that they can now see in the opposite wall.

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9 VIDEO: jeremybonwick.wixsite.com/portfolio

Digital Design 2018 Module 01 Jeremy Bonwick