Digital Design - Module 01 Semester 1, 2018 Melvin Dinata
(900429) Dan Parker | Studio 6
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)
A symbol is a sign which correlates to its dynamic object through a formal representation. This forms the difference between symbols and diagrams. Diagrams in contrary to signs and symbols, do not contribute to a representational role for their dynamic object, but instead mediate between physical constructs and concepts or precepts on an organisational level. A diagram is specific to a space and requires a context behind such as a spatial correlation. Their efficiency is dependent on their appointment whereas the materiality of the symbol is not admissible to its performance.
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Week One
Precedent Analysis Luc Boegly, Sergio Grazia, The Serpentine Pavilion, 2016
The first step in modelling the pavilion is to truly understand and visualise the multiple orientation of the structure due to its fluidity. By referencing the section diagrams (plans, elevations) for tracing, the model was able to achieve high precision in terms of its dimensions and placement relative to each layers. Drawing knowledge from FOD:R, the model is then solidified to mimic the detailing of the real pavilion. An exploded isometric is best used to clearly divide the layers which can then be organised accordingly.
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Left: Image of recedent study. Middle top: Elevation of model. Middle bottom: Plan view of model. Right: Exploded isometric of the structural layers within the pavilion.
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)
Should a design favor the extreme in functionality (a bench form meant just for sitting), the form will come across as an imposing design which forces people to adhere its functional and not appreciating its form. In this sense, the affordance is lost. An optimal design will provide a degree of exploration of its form from the people. Regarding Summer House Pavilion, the chairs are undulated to provide connection and disjointment between each ‘cushion’. Hence, its orientation of seating can be varied. The wall also remains close to the ground to allow people to lean, opening more opportunities. The wall’s C form provides a funneling effect which allows people to appreciate the view in a panoramic manner, which coincides with the pavilion main purpose.
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Week Two
Isometric
South-East Isometric: Barkow’s Summer House pavilion 2016 The isometric’s orientation is chosen as I believe that it best showcases the complexity and overall structure of the pavilion. Due to its high degree of precision in both detailing and orientation, the section diagrams (plan, elevations) were heavily referenced to mantain that succinct level of integration between the layers. The key experience of modeling this pavilion arises when assembling the multiple structural layers together. The orientation of each layers must be close enough to offer a harmonious connection but at the same time distant enough to prevent collision. The summer house pavilion explores the concept of visual orientation extensively. Due to the structure’s fluidity and freeflowing nature, the pavilion provides both the occupier and distant observers with different views from different orientations. Through this, the pavilion can be said to always be ‘rotating’. The threshold and circulation both also give nudge to the idea of ‘rotation’. Due to the wall’s C-form, an entrance or exit is blurred, allowing people to approach or leave the pavilion from any direction. However, an internal threshold is still present within the walls and the roof. The wall, being on ground level, offers a more obvious threshold once the visitors enter to sit. The enveloping of the wall with the seating area provides a more distinct internal threshold. The overhanging roof also provide implied threshold of the space (i.e. when the roof starts to hang over a person). Due to such placement of the wall, there is no internal space within the pavilion, influencing the circulation to follow an ‘ambulatory’ manner. Rotation again comes in mind as people are required to circulate the pavilion in attempt to reach the different seating areas, or to visually comprehend the whole pavilion. In such, the orientation informs the pavilion’s design as rotational and dynamic, as intended.
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Week Two Diagrams
Threshold Diagram
Circulatory Diagram
The diagram aims to explain the different levels of threshold offered by the individual layers when working in synthesis. The empty spaces formed by the walls and roofs are represented in 3D forms to allow a more detailed visualisation of the level of accessibility and privacy.
This diagram follows the natural intuitive of visualising circulation by tracking people’s paths. Instead of representing the information with geometric surfaces, I opted for lines as it best represents the pavilion’s dynamism and fluidity. The overlapping of lines informs a movement pattern while respecting other paths.
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Appendix
Process
The preparation process of modeling begin by creating a ‘work box’ with the given diagrams of plan and elevations
Tracing the plan requires high precision to prevent collision complications when organising the structural layers together.
Using commands such as Extrude Crv to solidify the individual elements. Elevations are always referred to for correct heights.
Forms are beginning to assemble themselves via repeated process of tracing and extruding.
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Appendix Process
The highest roof structure requires an additional step of adjusting points to achieve the undulation form.
Surfacing and Meshing of the adjusted lines creates a ribbon-like structure similar to the precedent.
Accuracy is again necessary in this process to achieve the right dimensions and distance from each element to another.
Repeating the commands results in fluid and smooth curve structure.
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Appendix
Process
Visualising diagrams with free-hand drawing before replicating it digitally. Feedbacks from tutors are considered when diagramming.
Experimentation of ways to represent ambulatory movement
Exploded diagrams undergo Make2D to allow the lines to be
Live Paint is used to provide color notations to the diagrams, allowing a richer visualisation of the individual elements of the pavilion
surrounding and within the walls.
exported in illustrator for line-weight adjustment and coloring.
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