Digital Design - Module 01 Semester 1, 2019 Sylvia Marshall
996269 Samuel Lalo + Studio 17
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?
Diagrams have taken a new level of importance in the contemporary age of architecture to represent rhythmic patterns of people’s movements and sensual aspects of and over spaces and thresholds. Such information is often only legible to the designer themselves, providing architects with a means to fluently express changes and movement through space. On the other hand, signs and symbols are far more universal, and act as a clear image to symbolise the programs of a space, which the general person can understand. Diagrams move away form simply illustrating uses of a space, entering into a new dimension of visualisation and representation, which can even show the sensations and moods of a space, crossing over multiple levels of time.
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Week One
Radix - Aires Mateus
Fig. 2 Detail, Aires- Mateus Radix, 2012
Fig. 1 Detail, Aires-Mateus Radix, 2012
Created for the 13th International Architecture Exhibition in Venice, 2012, Radix is a dynamic pavilion designed by brothers Francisco and Manuel Aires Mateus. The name has its origins in Latin meaning “root�, and as the arches seems to float next to the Venice canal the structure mimics the arches found in the historic Arsenale buildings, seen in the background of fig. 2. The combination of the steel material and geometries also match the structure to the large cruise ships that daily leave and enter Venice.
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Week One
Precedent Analysis In Radix, the design revolves around the enclosing spaces of three ellipsoids, which become dome-shaped internal structures, relating back to much of the historic architecture of Venice. Three actual points of the structure hold up the hollowed Radix, while one arch over-hangs the water, creating a diversity of reflections that also exist naturally within each arch due to the gold internal finishes upon the steel structure. The dichotomy between the rustic steel exterior and the refined interior panels draws the viewer into the arch spaces and brings a new level of spatial experience. This use of material also contrasts with the brick buildings and concrete dock upon which the pavilion is placed. Just as Venice floats, the over-hanging arch creates that connection to the water canal, a distinctive feature of the city.
Fig. 3 Detail, Aires-Mateus Radix, 2012
Fig. 4 LMS, Aires-Mateus Radix, 2012
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Week One
Precedent Analysis Modelling process on Rhino
Reference images
1: Top left, a cube of 8000 x 8000 x 4000 was modelled to create the structure of the pavilion. 2: Top right, three ellipsoids were then also made using the reference images and measurements and made to intersect with the cube.
Fig. 5 LMS, Radix floor plan and unwrapped sections
3: Bottom left: using Boolean Difference the ellipsoids were then cut away from the cube, leaving the Radix structure. In observing the photos of Radix I was able to gain an understanding of how the pavilion was placed upon the site and its relation to its surrounding environment, along with the geometries of the structure. Using the reference information I created the main structure of the cube and ellipsoid, and spheres. Rhino allowed me to reconstruct Radix, while also projecting the pattern of the internal dome panels onto the model (see appendix).
Fig. 6 LMS, Radix floor plan and sections
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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.
The variation of open spaces and seclusion used in Mateus’ Radix act as a maze of varying levels of experience of inviting, new sensory thresholds to explore, contained within the steel arches and open dome structures. The seemingly solid and structured exterior frames the more intimate spaces within, which are slightly open to each other through intersecting gaps. Being placed upon the canal means that people feel invited to use the pavilion as a shelter and protector as they sit and look out upon the water on the steps. Radix acts as a multitude of thresholds for people to interact with and explore in a fluid and free manor.
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Week Two AIRES-MATEUS’ RADIX IN ISOMETRIC VIEW_SE & SW
Isometric
This perspective shows the over-hanging arch and large dome space over the canal. I decided to show Radix from this view as to highlight a major threshold of the structure where people are drawn to sit and look over the canal. I lowered the opacity of the roof and walls to allow a view of the inner dome structures and their panels, which I also coloured a light pink to reference the gold finish on the steel interior panels. These panels and the reflection they create is a major sensory and asethetic feature to Radix. The base is portrayed in a dark, heavy grey to contrast against the lightness of Radix, which even though is seeming heavy, is actually a light weight structure that seems to float next to the water. The canal is represented as a fading triangle as the bottom of the steps, as I have retained it to continue the cubic base of Radix. Meanwhile, the three domes act as both public and more securing spaces of privacy, which is gained as one delves further into the arched spaces and the height lessens.
To the right is another isometric representation of Radix that I made. Focusing upon the SW I decided to include this isometric to diversify the angles of this structure. From the SW one can see more clearly the two major dome interior structures, as well as the over-hang of the arch over the canal and steps. The three thresholds can be clearly pictured, along with the generous and intriguing spaces held inside of the Radix structure. Using a palette of black, white and grey, this isometric clearly depicts the interior dome panels and inviting angle of the steps, leading to the canal. Once again I used a heavy base to highlight the floating design of Radix and how the arches meet and the circulation between the trio is constructed. 7
Week Two Diagrams
Circulation diagram
Threshold (Connectivity) diagram
This diagram shows the different layers of the spatial areas of the pavillion, focusing upon the canal water and how the over-hanging arch creates a central point for people to sit. The three domes act as enclosing spaces for circulatory movement through the dome spaces and the interconnecting spaces, while one may also walk around the structure, experienceing each dome threshold as a new realm of proected space. 8
The above diagram works to deconstruct the various parts of the structure, while enclosed between two bottom and top right-angled lines, leading the eye up and down the progression of space. The four main elements of the threshold in Radix consist of the individual three dome structures as well as the steps that lead to the canal. The encapsulating walls and roof, made of rustic steel also frame these spaces and contrast with the reflective panels and sense of movement through the interior structure and siting next to the water.
Appendix
Process
(Left and down): Using the line command in Rhino I created a panel system which was then lain under each dome space and “projected� onto it. This was done by studying the images I had sourced of the pavillion to accurately place the correct amount of panels.
Creating a rectangular solid I trimmed away from the cube each of the three steps.
This is the Radix model sitting on its base with the roof and walls hidden in order to view the interior spaces and meeting of the three domes.
This is a skewed perspective of the under side of the strcuture showing the reflected panels.
Fig. 7 Detail, Aires-Mateus Radix, 2012. This image focuses upon the singular, central point of the structure. This point does not touch the ground is the meeting point of the three domes.
To create the base of the model I created a cube of 8000 x 8000 x 600.
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Appendix Process
Using Illustraotor I was able to break down the varying structures of Radix into different components to then assemble the Isometric and also develop my digrams. Using the Isometric layout I was able to compose Radix into different sections and focus upon the threshold areas along with the main spaces of circulation and interest, and the transition from exterior to interior, and public and secluded area. Left to right: the shape of the Radix roof; exterior walls enclosing the dome spaces; the base area of these interior spaces upon which Radix sits, along with the steps and area of the canal over which the arch shadows. The outline and enclosing space of the domes is then shown, with a black background to show the dynamic correlation that occurs in this structure between the reflective panels, the outter environment and setting and varying of height within the arches; next to this is an aspect of my circulation diagram, representing the movement of visitors through each threshold, with a focus upon the steps of the canal.
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Bibliography
Figures
Fig. 1 Aires-Mateus, Radix, from Detail, Space Condensates: Biennale 2012, www.detail-online.com/article/space-condensates-biennale-2012-16439 Fig. 2 Aires-Mateus, Radix, from Detail, Space Condensates: Biennale 2012, www.detail-online.com/article/space-condensates-biennale-2012-16439 Fig. 3 Aires-Mateus, Radix, from Archdaily, Venice Biennale 2012: Radix / Aires Mateus, www.archdaily. com/267567/venice-biennale-2012-radix-aires-mateus Fig. 4 Radix, LMS, app.lms.unimelb.edu.au/webapps/blackboard/content/listContent.jsp?course_ id=_383819_1&content_id=_7326049_1 Fig. 5 Radix, LMS, app.lms.unimelb.edu.au/webapps/blackboard/content/listContent.jsp?course_ id=_383819_1&content_id=_7326049_1 Fig. 6 Radix, LMS, app.lms.unimelb.edu.au/webapps/blackboard/content/listContent.jsp?course_ id=_383819_1&content_id=_7326049_1 Fig. 7 Aires-Mateus, Radix, from Detail, Space Condensates: Biennale 2012, www.detail-online.com/article/space-condensates-biennale-2012-16439
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