Digital Design - Module 1 Journal

Digital Design - Module 01 Semester 1, 2018 Saran Kim

904662 Joel Collins + Studio 15

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)

While signs and symbols belong to the formal representation of dynamic objects, Zeara-Polo defines the diagram as ‘a tool that describes relationships and prescribes performances in space’ which ‘always has a spatial correlation’ (p.239). Signs and Symbols do not provide the material and rational relationship between form and contents, as the main role of signifying or symbolic operations is to mediate between ‘cultural and subjective representations’ (p.239). Zeara-Polo argues that unlike signs and symbols, diagrams create ‘new sensations and moods’ as well as new organisations. Diagrams help to conceptualise what is beyond our understanding of the reality.

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Week One

Precedent Analysis

<Top> Plan. The overlapping petals are supported by modular rib structure. <Middle> Elevation. The height difference between petal panels allows air circulation and indicates the dynamic relationship. <Bottom> Perspective view. The pavilion resembles trees in the context of the garden.

Timber deck represented by dark yellow, the rib structure and the petal panels in dark grey and rods (poles) in light grey.

Gollings, John. MPavilion. Photograph. Dezeen. October 5, 2015. Accessed March 5, 2018. https://www.dezeen. com/2015/10/05/amanda-levete-architects-mpavilion-queen-victoria-gardens-melbourne-australia-fibreglass-forest-petals/.

In modelling this pavilion, it was necessary to subdivide it into four key sections: the timber ground, vertical carbon fibre rods (poles), 3mm-thick petal panels and the rib structure connecting rods and petal panels. Since each component consists of repetitive, modular patterns, it was important to model one element of each section in full before duplicating it to cover the whole section. For example, the petal panel had to be made up of the surface of petal and the radiating linear pattern. Furthermore, referring to the layering system of petal panels shown on the given plan was the key to make sure that the canopy structure was accurate in the elevation.

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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)

2015 MPavilion by Amanda Levete Architects offers users the freedom to interpret the functions and usage of the space. It is characterised by triangular timber tiles, monotone slender poles and translucent round-edge panels with linear patterns. The absence of solid walls implies the fluidity of the space, encouraging visitors to enter and exit the space from different directions. Furthermore, the fact that pavilion is in the garden allows users to understand the lightweight structure with the blurred inside-outside definition as an architectural representation of trees that associates with the idea of a place for resting, meet-up and gathering.

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Week Two

Isometric

MPavilion by Amanda Levete Architects This isometric view was taken from the South-West viewpoint. The pavilion consisting of the timber triangular ground, carbon fibre rods, the rib structure and petal panels are combined together to form a space that resembles trees and their foliage in the context of the garden.

In the initial modelling process, it was a struggle to get the curvature of the petal panels right as it had to be in the exact shape like a jigsaw piece in order to form a cohesive modular composition. The blurred plan image imported in Rhino was making the process hard.

In Studio 1 in Week 2, I learnt how to drop the plan into Illustrator and then import the Illustrator file into Rhino. This preserved the clarity of the linework of the plan and the lines were recognised as curve components. This made the re-modelling process quicker and easier than the initial attempt.

Since each component has different visual languages in terms of lines, shapes and patterns, I paid a great attention to the lineweight to articulate the important outlines and to keep repetitive patterns subtle.

The circulation in the pavilion is informed by the openness of the space without solid walls, inviting visitors to enter into the space from any directions. The positions of rods create the zoning of the space, as visitors may gather around or walk around rods.

The threshold of the pavilion is not clearly delineated as there is no enclosure or articulated outline that all components are located within.

As the design inspiration comes from trees, the threshold is blurred and so there is a gradual shift from outside to inside as visitors walk between poles.

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Week Two Diagrams

Circulation

Threshold

Since this pavilion does not have designated entrance and exit, users are provided with the open access to the pavilion space. The circulation within the space is created by the poles that support the petal structure, which encourage users to walk around them and to take time exploring the space rather than to walk straight through.

As the pavilion form reflects architectsâ&#x20AC;&#x2122; intent to mimic the idea of trees and canopy, the threshold of this pavilion is designed to be fluid just like getting into shade under the tree. This blurred boundary between inside and outside aims to make the pavilion fit in the landscape of Queen Victoria Gardens where it is located.

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Appendix

Process: initial attempt

Creating triangular tiles on the ground

Importing the pavilion plan on Rhino file using PictureFrame command.

Setting up the plan to 1:1 scale.

Measure lengths of triangles.

Using Polyline command to draw horizontal lines to subdivide a triangle. Use Offset to create edges.

Trim superfluous lines. Planarsrf to make surface and Extrudesrf to give depth.

Duplicate the triangle using Gumball and arrange according to the plan using Move.

Creating outlines of tranlucent panels

Measure the radius of a circular end and draw the shape of a small translucent panel using Polyline and Arc. I found the curvatures of the shape are all derived from one circle.

Trace 1/3 of the shape then duplicate twice (Gumball) to form a complete shape. Use Close to make sure it is a closed curve.

Trace the large translucent panel using the same method as the process for the small panels.

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Rotate a triangle to match the direction of the linear pattern of triangles (image above is before the correction). Use Move to make sure that vertices of triangles are meeting.

Appendix Process

Creating radiating patterns on the panel

Draw a horizontal line using Polyline.

Array it in y direction with 13 lines.

In order to create a radiating form consisting of 12 groups, place a point as the centre and use Gumball to copy (alt key) &rotate.

Copy & paste the outline of the translucent panel. Use Polyline to draw straight lines to split the outline into three equal sections from centre.

Locate the pattern on one section and Trim the unnecessary linework.

Use Gumball to duplicate and rotate the section twice to cover the whole petal panel. Make sure that the edges of the pattern meet and connected. Group them together.

Duplicating petal panels

Use Gumball to copy large petal panels and Move command to position them in the right place.

Make sure that the relationship between panels are accurate.

Repeat the previous step with small petal panels.

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After completing the process up to this step, I had an advice from my friend in Studio 1 that importing the plan as an Illustrator file is easier to process. So I decided to keep triangular timber ground but start other components from scratch again.

Repeat the process for a small petal panel.

Appendix

Process

Restarting - tracing, making surfaces / petal panels Open pdf file containing the plans and the elevation on Illustrator.

Save it as the Illustrator file. Import/ PictureFrame Illustrator file in Rhino, Scale it to match 1:1 scale.

Draw a circle for the placement of the rod. Copy and paste for other sections. Revolve the elevation of the lighting element to create the threedimensional form of the lighting.

Join outlines that are disconnected.

Make sure that the curve is closed.

Planarsrf the curve to make a surface.

For creating the blank space within a rib structure, Join the outline of one of blank sections, Planarsrf it, Rotate it by 60 degrees and copy it as you go.

After creating six identical pieces, use BooleanDifference command to cut them out of the base.

Join the outline of petal panels in two shapes/sizes, Planarsrf them and change the object layer to keep groups of components organised.

Select the surface of the rib structure and Extrudesrf to give depth. Locate the lighting form on the underside of the rib structure using Move command with selection of centre.

Duplicate and position the large petal panels using Gumball and Move.

Repeat the same process for the small petal panels.

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Appendix Process

Adding patterns, elevations and extruding poles

Duplicate and locate the the small petal panels as shown on the plan using Gumball and Move.

Using the pattern I had created in the first attempt, move it on top of the intersection of ribs, copy and paste the outline, split the outline in three pieces and trim off the excess of the pattern.

Copy and paste the pattern in the shape of the petal panels. Create a layer, Change the object layer and Group the pattern elements.

Lift the petal panels using Gumball (in Front view) according to the layering system shown on the plan. Create a new layer for panels already lifted (to keep track of which one has been moved already).

In Front view, try to match the elevation of the petal panels with the horizontal lines indicated on the elevation. Observe whether the horizontal planes on the elevation have four fixed points (large petals) or three (small petals).

Using the circles embedded in the petal panels / rib structure, Planarsrf and Extrudesrf to create poles (rods).

Extend them to the top surface of the timber ground.

Image showing the front view after the poles were extruded from the circles on the petal panels.

Remove unnecessary components (hide or turn off the layer) from the viewport, turn on layers with key components and check their positioning. Set viewpoint to parallel (SW), SelVisible, Invert and Hide them. SelVisible again and Make2D for linework.

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