Digital Design - Module 01 Semester 1, 2018 Claire Woodward (915 504) Michael Mack - Studio 5
Week One
Reading: Zeara Polo, A. 2010. Between Ideas and Matters. Peirce classifies signs into symbols, indexes and icons which can form expressive representations of objects without a formal link back to the original form. These form a more symbolic quality like a trophy or a statue which aim to reference content in an ‘immaterial and arbitrary way’. By contrast , according to Zeara, diagrams communicate detailed concepts and perceptions of a site with a direct link back to its original form. By taking a non-representational form diagrams are able to convey large quantities of information in an organised manner conveying complex ideas and architectural discourse.
2
Week One
Precedent Analysis
Image 1: Libeskind South-West View
The biggest challenge while modelling was lining up the plans with the elevations as the angles were unclear and the correlation with the plans was not initially evident. I used this colour system to form and understanding of how the roofs interlinked with each other, whether the juxtaposing shape sat in front or behind, what shape the roof would form. This helped to line up the angles of each panel, so they were as accurately placed as possible. Secondly, to ensure I was as precise when tracing the lines, I used Illustrator first and then transferred these to Rhino, rotating them and placing them into position. I found with this technique I was able to more accurately pinpoint the ends of lines, and the form of my final model was more accurate as a result.
3
Week Two
Reading: Hertzberger H. 2005. The in-between and The Habitable Space Between Things, from Lessons for Students in Architecture.
Image 2 : Libeskind South-West Internal View Herzberger discusses the way in which over-design, with a primary focus on functionality, can lead to a loss in freedom and flexibility of spaces. He encourages people to design with the intention of creating a multi-purpose spaces. By adding material to extend a balustrade or to the base of a column you are encouraging people to use the space in a unique manner that is not restricted by the constraints of intended building function. This is utilised in the Libeskind pavilion as there are no built-in seats or platforms instead furniture is brought in and arranged as needed for the required use e.g. a cafĂŠ or gallery space. The multiple walls create spaces that vary in intimacy which encourages people to move throughout it in any way they feel comfortable. Finally, by exposing the internal structural beams not only are you alluding to the structural configuration of the building but a more playful space where children may climb, or people might lean is developed.
4
Week Two
Isometric
The modelling process of the Linebskind model was challenging due to the unclear plan, complex angles and inconsistencies between the elevations and images of the actual structure. To overcome this, it took a lot of time analysing the provided information and thinking logically about the practicality of the shapes - what would you assume would work. This analysis became invaluable later in the process as I had a deepened understanding of the structure and the way the different forms interact with each other. This challenged me to question how people might weave in and out of the spaces and if there were defining factors that would inform movement such as sunlight. This is a critical element of the precedent study as the angular nature of the panels and the reflective surface of the material means that light interacts with the space in an artistic and lively manner. Light dramatises the angles, determines key thresholds and creates playful shadows across the site, all encouraging diverse use of the pavilion. This specific angle of the pavilion was chosen as it both shows the dramatic angles of each segment while also exposing some of the interior structural form and the repetitive use of line.
5
= Interior Walls
Week Two
= Circulation Paths
Diagrams
= Low Usage Threshold = High Usage Threshold
Site Conditions 10 am After a wider analysis of the surrounding environments of Hyde Park, train stations, universities and tourist attractions, it became apparent that there was no straightforward way to determine a consistent reason or pattern to the movement across the Libeskind pavilion. I was inspired by the work of William Whyte where, through using time laps photography, he was able to analyse the correlation between sunlight and the way people interact with a site. I consequently decided to use this as a basis for exploration across the Libeskind site looking at how well-lit thresholds could alter the flow across the site with the assumption that people are either drawn towards the suns heat or away, seeking shade and the way this would alter over contrasting times of the day.
6
Appendix Site Analysis
This was my wider analysis of the are surrounding Hyde Park. The arrows indicate the direction of flow between the surrounding train stations and the Serpentine Art Gallery. This demonstrates that people flow from all directions and there is no peak flow or steady pattern. The circles indicate high density areas because of Universities and Museums and the London city center, I analysed this to see if peak hour (people heading to or from work or school) would impact the flow across the pavilion but again no real consistency can be determined.
Image 3 : Map of London
7
Appendix
Creating Panel and Rivet Texture
In order to form the surfaces I started with the lines that I had taken from the elevations and plan and joined them together in order to get the accurate dimensions. I then created a surface using the four point surface tool. From here I needed to add depth and did this using extrude surface. I found this to be the most effective way as other methods did not work consistently as not all surfaces were closed or planar. This did however result in overlaps, which I went back and fixed using trim and points on to align all surfaces and ensure they were straight and flush.
Appendix
In order to create the paneling texture, I formed the first rectangle geometry and then repeated this form across the plane. Then to fit it back within the panel surface I trimmed the edges. Then to form the rivets I used a simple circle which I then arrayed along the required lines. While doing this it was important to test different distances between the rivets so that it accurately conveyed their appearance without making the model over powering and busy. This distance also differed depending on the type of line - shorter lines need a shorter separating distance. Once I had completed one surface I was able to copy these over to each other surface, rotating them slightly to ensure the angles matched the real structure - this was important to get accurate as it accentuates the angle of the panels, making them a standout feature.
9
Appendix Model Views
10
References Image 1 & 2 : Serpentine Gallery - Libeskind, Libeskind, https://libeskind.com/publishing/serpentine-gallery/ Image 3: Welcome - nearmap, Maps.au.nearmap.com, http://maps.au.nearmap.com/#
11