Journal final for wix

Digital Design - Module 01 Semester 1, 2018 Melissa Tan 912630

Xiaoran Huang, Studio 3

Week One

Week One

Precedent Analysis

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)

Beyond the limitations of cultural conventions that influence an outmoded consistency in representation, diagrams craft an abstract organisation of space and matter exalted by sensations and affects. Rather than mediating logic in representation, diagrams hold the capacity to trigger an incessant number of possibilities, further prompting thought about spatial correlations within multiple readings.

The abstract formal systems of diagrams derailed the status quo of the 1960s, provoking projective arguments with a dialectical approach. Consisting of icons, indexes and symbols, signs facilitate the expression of qualities, functions, phenomenon and monuments, performing a representational role for their dynamic object.

Top left Contour lines of roof in plan view.

Top right Front and right elevation of full pavillion.

Bottom left Baan, Ivan. The 2009 Serpentine Gallery Pavillion - SANAA, 2009, photography. Abitare magazine. Accessed March 11, 2018. https://iwan.com/portfolio/serpentine-gallery-pavillion-2009-sanaa/.

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Full Isometric view (SW)

Week Two

Week Two

Isometric

Reading: Hertzberger H. 2005. The in-between and The Habitable Space Between Things, from Lessons for Students in Architecture.

The Serpentine Gallery Pavilion 2009 - SANAA

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)

Similar to ideas discussed in the Week Two reading question answered on page 4, my understanding of the threshold and circulation has undoubtedly been deepened through the modelling of this pavilion. This structure features a temporary glass enclosure that, once removed, allows for a completely open network of columns that organizes a space for ambulation. The only limiting factors that guide a potential wanderer is the ground plane wherein concrete and gravel dictate a path, antithetical to its grassy surroundings.

The intermediate, prelude barrier between inside and out engenders an invitation for outsiders to venture in, whilst simultaneously sending off those that wish to depart. This spatial duality is evident within the design of the 2009 Serpentine Gallery Pavilion by SANAA. Despite the lack of any conventional ground to ceiling walls, the pavilion can be regarded as a threshold as it entices bystanders to meander the structure, navigating through its wandering paths, only to emerge in another open space. Annular glass enclosures spawn a perception of privacy wherein the only condition separating two individuals is their sense of immediate touch. Though they can continually see and hear one another the bodily experience and interaction between the two transposes to one of a spectacle. For the onlookers peering in, the inhibitors become part of the exhibit, and for those seeing out, their surroundings develop into a dynamic wallpaper.

The fragility and aerial qualities of the pavilion are exacerbated through its thin frame and light-toned materials, as well as its mirrored, undulating roof. Aluminium sheets are paneled across the expanse of the pavilion, and although they act as a monolithic slab, the smokey, organic shape grants the structure to interact uninterruptedly with its neighbouring environment.

In this sense, the formation blends into its milieu, assimilating my understanding of ‘inside’ and ‘out’ within the context of thresholds.

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Week Two

Appendix

Diagrams

Process

Panelled surface

Structure

Supporting columns + glass enclosure

Primary Circulation Space Areas of assembly/intermission

Entry ways

Drafting the roof and scaling it to the correct area on rhino (557m2).

Tracing the contour lines for the roof according to plans provided.

Offsetting contour lines distances found in excel.

at

Points were made out of the contour lines and a patch was made, creating the roof.

Columns were extruded from the plans at a diametre of 50mm (as given in SANAA sketches).

Ground plane was traced from plans given.

Ground Plane

Circulation paths

Thresholds

Comprising of three components, this diagram represents the space that people may navigate and assemble

Through structurual segments of the structure, it is possible to infer the nature of spatial duality qualities between the ‘inside’ and ‘out’.

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Appendix

Appendix

Process

Process

Glass enclosure was also modelled from plans provided.

The threshold diagram was set out, ready for line weights to be edited in Illustrator.

Chairs and modelled.

were

Panels were traced from the plans provided.

Once traced, the grid was then panelled onto the top surface of the pavilion.

The ArrayCrv command was used to set the chairs in the glass auditorium.

The surrounding chairs and tables were also modelled.

The top surface of the pavilion was extruded to create a 3D depth.

Layers were then exported into Illustrator at a 350:1mm for the small diagrams and 100:1mm for the large Isometric view.

Scale was then fixed accordingly.

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tables

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Make2D of the shelter was created then offset to make the curve for arrows to Array along.