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ASSESSMENT 2: THRESHOLD
BY ERIN TAGARINO
ID: 14510147
DAST001
content.
WEEK 4 THRESHOLD
PROCESS JOURNAL
Recognising threshold precedents
Threshold diagram ideas and first draft spatial logic
WEEK 5 CIRCULATION
PROCESS JOURNAL
Recognising circulation spaces
Diagramming circulation precedents
Design 2.2 modelling circulation and your developed spatial log-
ic diagram
WEEK 6 PROPOSAL 2.0
PROCESS JOURNAL
Model curation and presentation
Preparing for discussion activity
DESIGN COMMUNICATION DOCUMENT
Final threshold experience spatial logic diagram
timestamp - 1:17
RECOGNISING THRESHOLD PRECEDENTS
WEEK 4 THRESHOLD
Zaha Hadid
In Zaha Hadid’s architecture, thresholds appear in a variety of spaces, including entrance foy-
ers, transition zones, connection points, and architectural features. These spaces act as points
of transition and connection within the building, separating the exterior and interior, public
and private realms, and various programmatic elements. Hadid’s designs create dynamic en-
vironments that invite exploration and engagement by combining distinct architectural ele-
ments, fluid spatial arrangements, and symbolic gestures, emphasizing architecture as a jour-
ney of movement and transformation.
Dongdaemun Design Plaza
This threshold has an interior environ-
ment seamlessly blends into the exterior
space, its a large hallway with different
paths which is intersected by it.
This threshold, is seamless and unique
expansive arch which creates a dramat-
ic entrance to the building itself. With
Zaha Hadid’s soft threshold concept. As
you orientate this threhold, it is a simple
pass through of a singular direction.
In this space, stairs are thresholds that
help connect two spaces that are on dif-
ferent levels. The arrival to this thresh-
old is interchangeable as it depends on
where you are orientated (from either
the upper or lower flower), then you pass
through by going up or down the stairs
to arrive at the landing of the other level.
timestamp - 0:41
timestamp - 2:12
Sou Fujimoto
House N - Outside/Inside
RECOGNISING THRESHOLD PRECEDENTS
timestamp - 1:17
In Fujimoto’s House on N, these spaces are considered thresholds because they serve as
transitional zones between the exterior and interior, allowing visitors to adjust gradually. They
represent liminality, in which people are in a state of transition. These thresholds elicit antic-
ipation and introspection by manipulating spatial, material, and sensory elements, adding
mystery and contemplation to the architectural experience.
timestamp - 0:41
timestamp - 2:12
From the living room to the outside, en-
compasses a semi-enclosed threshold that
provides a sense of shelter while maintain-
ing a connection to the surrounding land-
scape.
This threshold, observes the connection
of interior and exterior elements, such as
glimpses of the surrounding landscape or
the filtering of natural light through perfo-
rated
In this space, from the entry point of the
house to the inside, has a seamless thresh-
old of inside and outside. Because of the
large rectangular cuts made throughout
the building, it opens up the light and en-
vironment to create a gradual transition of
the inside and the outside.
THRESHOLD DIAGRAM IDEAS AND FIRST DRAFT SPATIAL LOGIC
Combinations
1- Motivation
define motivations for inhabitant transition through a threshold space
listed conditions:
Healing
Playing
Thinking
Storytelling
Remembering
Imagining
Making
Dancing
Breathing
Eating
Breathing/Thinking/Remembering
Playing/Dancing/Making
Quiet & Minimal movement
Breathing/Thinking/Remembering Playing/Dancing/Making
Loud & Maximal movement
*Both can be in an open space, indoors and/or outdoors.
When I was defining the motivations to inhabitant transition through a threshold space, I had a
reoccuring thought of both spaces can be both open. Closed or tight spaces feel more claus-
trophobic which creates a more negative feeling in a space (for how I see it).
For each itereation and combination made, to fully understand I created scenario-based spac-
es. In terms of how large of a space is needed, and the action being executed I wanted to
make sure that the space made is appropriate to the condition being done.
3 & 4 - Transition & Annotation
2 - Start & End
Breathing Playing
Remembering
Thinking
Making
Dancing
For the spaces I had in mind, I wanted it to be two open spaces where movement can be max-
imized. But for the starting conditions since they do not fully require maximum movement, I
wanted to create an open resting space so the conditions would be met.
Remembering --> Dancing
scenario: people watching a performance
setting: dance studio
-
> movement
-ar circulation
-natural light
Breathing --> Playing
scenario: parents watching their children play
setting: family entertainment space
Thinking --> Making
scenario:people watching a concert
setting: concert
OVERALL
I wanted to include both Hadid and Fujimoto as my precedents, as I think both can go hand
in hand and can create simple yet complex structures. For all my iterations, I wanted to incor-
porate the soft thresholds made by Hadid while creating and inside and outside experience
through Fujimoto’s technique of cutting out parts of the exterior to allow natural light and na-
ture into the structure.
RECOGNISING CIRCULATION SPACES
WEEK 5 CIRCULATION
Horizontal Vertical
Singular
Varied
UTS Blog5 Osaka , Japan
nini
layout .
↑
Sydney Royal Easter show visited
Nintendo world
*
Lusaka Japan
&
-
- level
-
> changes
--
> ↓
↓
&
-
*
- =
-
>
>
-
I
DIAGRAMMING CIRCULATION PRECEDENTS
Breathing --> Playing
Based on the thresholds made through the section diagrams I made in the previous module, I
selected the Breathing to Playing combination as it is very versatile in space. For the circulation
type, I noticed that it would be a singular and horizontal circulation, since while you can move
into the space in multiple ways, there is really only one direction.
DESIGN 2.2 MODELLING CIRCULATION AND YOUR DEVELOPED
SPATIAL LOGIC DIAGRAM
Choose a Verb
to bend
to expand
of waves
My ideas for the threshold consist of symmetry while having Zaha Hadid as part of my prece-
dents, with the soft thresholds. Additionally, from the previous assessment I want to reference
the ‘flutter’ concept I had that creates a fluid-like structure, similar to Hadid’s architecture, hence
why she is part of my precedents. So with the verbs, ‘to bend’, ‘to expand’, & ‘of waves I want to
first seperately identify how circulation happens within them then create different iterations to
further understand circulation and curate a final model as my threshold.
Overall, my intentions would be to explore models that promote uniform horizontal movement
that creates an indoor-outdoor experience with natural light passing through.
Transition = breathing --> playing
Circulation = uniform/singular --> horizontal
“of waves”
I used this basket weaving material to construct the iterations. I think this really captures how I
want to add the ‘flutter’ concept to my models. This also relates to how Zaha Hadid constructs
her buildings and even furniture. With that, I want to incorporate this to create a seamless tran-
sition for the threshold. For the three iterations, I did different types of waves (some stemming
from the ‘to curve/flow’ verbs) to capture a fluid/flutter effect where the waves curve up and
down in different styles.
The forms made is a really great visualization of how waves are, they can be consistent and
symmetrical or even be in a wide variety of different sizes and lengths. I think what could be
improved here is with a different material, that is a bit more flexible, I would be able to fully
capture the movement of waves. In terms of circulation, through the waves it somewhat tells
you the direction of the space or how you should move within the space, which is something I
want to add onto my final threshold model.
- ·
- &
& ·
-h
-
-
·
r
- ·
#
“to bend”
When I thought of the word ‘bend’ I took it literally, as in ‘the bending of joints in our body’ so
I wanted to capture that through clay. The first iteration is a reference to the bending of our
arms, the second one I thought of squats where you hinge at your hips, bend your knees and
sink, then in the last iteration I thought of our hand joints so think of it as two fingers bending
in opposite directions.
The forms made is a ‘literal’ visualization’ of the bending action, but after further experiment-
ing with it, while in a larger scale this would be very interesting structures, this did not fully
express the circulation I wanted to achieve at its true scale. But, in terms of the way circulation
can bend inside a space, that is what I want to achieve for my threshold model, maybe with a
different material the results would differ.
Denton
two
ben
po E
thre
eointe
a&
“to expand”
I had fun with this one since I incorporated the kirigami paper cutting technique. The technique
lets me cut into paper without separating the whole piece, but it creates this elastic illusion when
expanding it when cutting it in a pattern. This relates to Fujimoto’s concept of the indoor-outdoor
structure and how Fujimoto created the House N where there are multiple layers but it seamlessly
ties itself together. I think with the paper-cutting method I was able to capture the essence of that
while exploring how different patterns create different lighting to the structure.
The way the paper is able to expand through length and size by using the paper technique
helped me achieve really good circulation and provided great visualization of spaces and its
symmetry. I want to incorporate this with my threshold model, with reference to how Sou Fu-
jimoto achieved an inside and outside feel with his structure, I think the forms make reference
to that (ex. House of N).
↓
- ⑨ ⑨ ↳
/L
-
↓
& &
↓
&
I -
L
&
↑
-
>
&
V
* T
L
& F
↑ -
For my next iterations, I wanted to combine two verbs together. ‘to expand’ and ‘of waves’ as
I believe these could go hand in hand in creating a simple yet complex exterior while having
good circulation within. I was recommended to experiment with ‘Mobius Strips’ as the shape
it make creates an interesting circulation. For this model, I experimented by combining two
different sized mobius strips together and it created an interesting shape while allowing dif-
ferent ways to pass through the different spaces made.
With this, I wanted to create my final model with reference to this one but having a less com-
plex shape to work with as I thought this would be very difficult to curate in 3D.
“to expand” + “of waves”
Albert Tibby Cottier Bridge
I wanted to incorporate how Hassell Studio
creates their curving circulations, just like the
Albert Tibby Cottier Bridge, the way that its
entry and exit points can be interchangeable,
I wanted to achieve that in my model. Taking
into consideration this circulation along side
with the verbs used and how it was formed.
I think that would be a great blend of ideas
put into one.
by Hassell Studio
-
>
↑ ⑳
-
-
&
&
WEEK 6 PROPOSAL 2.0
Precedent/concepts/ideas in mind:
Zaha Hadid
- Soft/curving threshold
Sou Fujimoto
- Inside/outside
Hassell Studio
- curving/interchangeable circulation
MODEL CURATION AND PRESENTATION
As a culmination of all the precedents, through the model I wanted to express an in-
terchangeable entry and exit point (Hassell Studio) while creating a soft and curving
threshold (Zaha Hadid), with that I used the rattan material to create a large circle then
created the twisting curved by glueing down specific areas. After the model was made,
I anotated the spaces and parts where light can pass through, so it would still feel like
you are outside even if you are inside (Sou Fujimoto). Analyzing the model, I also saw
symmetry in its structure and creating a singular horizontal circulation.
S
-
-
-
E
②
M
big
↑
After creating a physical model, so that I can under-
stand and manipulate how I wanted to create the
space. I went onto Rhino to produce the model in 3D.
I applied the inside-outside concept by cuting into
the exterior in a curve, and the overall shape of the
structure is in reference to Zaha Hadid’s curving and
soft threshold structures. With creating a symmetri-
cal inside-outside space, I felt like design-wise it was
too simple and I wanted to incorporate a design that
would wrap around the entire structure.
Shigeru Ban
Expo 2000 Japan Pavillion
Through research and looking at pre-
vious projects done throughout the
diploma, I came across Shigeru Ban
and the patterns he creates through
his sustainable architecture. For most
of his projects he incorporates a para-
metric design that creates a cage-like
structure that wraps around his build-
ings. I took inspiration from the Pa-
villion he made for Expo 2000 in Ha-
nover.
Wrapped around my model is a parametric curving-grid-like design that allows natural light
to pass through to create a interesting pattern. While it slightly diminishes the inside/outside
concept, I think it is still able to capture through its circulation.
MODEL CURATION AND PRESENTATION
With that completed, I started to collate and organize all the information done through mod-
elling and research based on the modules.
⑳
-
-- &
↓ ↳
7 &
↳
E
So
↑
-
>
PREPARING FOR DISCUSSION ACTIVITY
For the preparation for the discussion activity,
I grouped with Seoyeon, Muhammad & Kevin
for this. We decided on who takes the differ-
ent hats and then created a template to format
how our discussion flow would go.
For my part, since mine was about ‘feeling’ in-
side studio culture. It was based more on col-
lating all the information given by Muhammad
and Seoyeon to provide a neutral ground to
the discussion. Since, we all have different ex-
periences and feelings towards studio, its best
to find both the good and bad about it and find
what can be found positive even if the experi-
ence was essentially not good for the person.
Here we wanted to practice before the class, so we decided to go to
class about an hour eary. We refined and gave input to each other on
our delivery and tone to our discussin parts.
⑪
FINAL THRESHOLD EXPERIENCE SPATIAL LOGIC DIAGRAM
Threshold precedent
zaha hadid
Threshold precedent
sou fujimoto
D
s
drawing by erin tagarino
student id: 14510147
threshold spatial logic diagram
scale 1:50 (a3)
concept of fluidity, with dynamic form
and flowing lines. (curves & soft thresh
olds
blurs out the boundary of inside
& outside spaces.
Breathing Playing
nha itat Transition
A space in which the indoors and
outdoors flow seamlessly together,
and vice versa.
Playing
Breathing
threshold
movement
inside
outside
opposite of spaces, tight
and narrow
space
large, maximal movement
Circulation precedent
Hassel studio
Design precedent
shigeru ban
ingular ori ontal Circulation
complex geometry, parametric design
& structure.
caged architecture.
interchangeable entry and exit points.
curving circulation.
Movement Circulation
Air Circulation
Movement Circulation
“to expand” +
“of waves”
References
Anthony. (2002). Designing for Diversity: Implications for Architectural Education in the Twenty-first Century. Jour-
nal of Architectural Education (1984), 55(4), 257–267. https://doi.org/10.1162/104648802753657969Links to an ex-
ternal site.
Art21, (2013) Tools & strategies Richard Serra retrieved from https://art21.org/watch/extended-play/richard-ser-
ra-tools-strategies-short/Links to an external site.
Bhaskar. (2016). Curation : the power of selection in a world of excess. Piatkus.
Boettger. (2014). Threshold spaces : transitions in architecture : analysis and design tools. Birkhäuser. https://doi.
org/10.1515/9783038214007
Chaplin, & Stara, A. (Eds.). (2009). Curating architecture and the city. Routledge.
Choreographic Objects, (2017) 161220#2 – William Forsythe retrieved from
https://youtu.be/xmlyxtkyD9QLinks to an external site.
Deamer, P. (2020). ‘Design Pedagogy: The New Architectural Studio and Its Consequences’. Architecture_MPS
Dutton, Willenbrock, L. L., & Schon, D. (1989). The Design Studio: An Exploration of Its Traditions and Potential.
Journal of Architectural Education (1984), 43(1), 53–. https://doi.org/10.2307/1424986Links to an external site.
Hamer, S. (2020) Circulation or how people move through space retrieved from http://portico.space/journal//archi-
tectural-concepts-circulationLinks to an external site.
McLaughlan, & Chatterjee, I. (2020). What Works in the Architecture Studio? Five Strategies for Optimising Stu-
dent Learning. The International Journal of Art & Design Education, 39(3), 550–564. https://doi.org/10.1111/
jade.12303Links to an external site.
Smith (Ed.). (2021). Progressive studio pedagogy : examples from architecture and allied design fields. Routledge.
Spiller. (2014). Educating architects : how tomorrow’s practitioners will learn today (Clear, Ed.). Thames & Hudson.
Personally speaking, this assessment was really difficult for me to cu-
rate as I had a hard time making Ideas. While learning from the previ-
ous assessment and taking into account what needs to be improved,
I still had a similar mindest coming into this assessment similar to the
last.
But. as the weeks progressed I managed to pick myself back up and
come up with random ideas until it would make sense to me or it seems
like an interesting idea to push through with. I was able to curate an
interesting model while being able to develop my 3D modelling skills.
For the next assessment,I will take into consideration the difficulty I had
during this assessment to make leeway in terms of time needed. This
assessment made me set boundaries on what I should be focusing on
and what can and can’t be sacrifiec when producing quality projects.
Overall, while there could be imrpovements done, this assessment is
my stepping stone into being a better designer and person.

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Tagarino_14510147_Assessment 2B ThresholdProcess Journal FINAL.pdf

  • 1. ASSESSMENT 2: THRESHOLD BY ERIN TAGARINO ID: 14510147 DAST001
  • 2.
  • 3. content. WEEK 4 THRESHOLD PROCESS JOURNAL Recognising threshold precedents Threshold diagram ideas and first draft spatial logic WEEK 5 CIRCULATION PROCESS JOURNAL Recognising circulation spaces Diagramming circulation precedents Design 2.2 modelling circulation and your developed spatial log- ic diagram WEEK 6 PROPOSAL 2.0 PROCESS JOURNAL Model curation and presentation Preparing for discussion activity DESIGN COMMUNICATION DOCUMENT Final threshold experience spatial logic diagram
  • 4. timestamp - 1:17 RECOGNISING THRESHOLD PRECEDENTS WEEK 4 THRESHOLD Zaha Hadid In Zaha Hadid’s architecture, thresholds appear in a variety of spaces, including entrance foy- ers, transition zones, connection points, and architectural features. These spaces act as points of transition and connection within the building, separating the exterior and interior, public and private realms, and various programmatic elements. Hadid’s designs create dynamic en- vironments that invite exploration and engagement by combining distinct architectural ele- ments, fluid spatial arrangements, and symbolic gestures, emphasizing architecture as a jour- ney of movement and transformation. Dongdaemun Design Plaza This threshold has an interior environ- ment seamlessly blends into the exterior space, its a large hallway with different paths which is intersected by it. This threshold, is seamless and unique expansive arch which creates a dramat- ic entrance to the building itself. With Zaha Hadid’s soft threshold concept. As you orientate this threhold, it is a simple pass through of a singular direction. In this space, stairs are thresholds that help connect two spaces that are on dif- ferent levels. The arrival to this thresh- old is interchangeable as it depends on where you are orientated (from either the upper or lower flower), then you pass through by going up or down the stairs to arrive at the landing of the other level. timestamp - 0:41 timestamp - 2:12
  • 5. Sou Fujimoto House N - Outside/Inside RECOGNISING THRESHOLD PRECEDENTS timestamp - 1:17 In Fujimoto’s House on N, these spaces are considered thresholds because they serve as transitional zones between the exterior and interior, allowing visitors to adjust gradually. They represent liminality, in which people are in a state of transition. These thresholds elicit antic- ipation and introspection by manipulating spatial, material, and sensory elements, adding mystery and contemplation to the architectural experience. timestamp - 0:41 timestamp - 2:12 From the living room to the outside, en- compasses a semi-enclosed threshold that provides a sense of shelter while maintain- ing a connection to the surrounding land- scape. This threshold, observes the connection of interior and exterior elements, such as glimpses of the surrounding landscape or the filtering of natural light through perfo- rated In this space, from the entry point of the house to the inside, has a seamless thresh- old of inside and outside. Because of the large rectangular cuts made throughout the building, it opens up the light and en- vironment to create a gradual transition of the inside and the outside.
  • 6. THRESHOLD DIAGRAM IDEAS AND FIRST DRAFT SPATIAL LOGIC Combinations 1- Motivation define motivations for inhabitant transition through a threshold space listed conditions: Healing Playing Thinking Storytelling Remembering Imagining Making Dancing Breathing Eating Breathing/Thinking/Remembering Playing/Dancing/Making Quiet & Minimal movement Breathing/Thinking/Remembering Playing/Dancing/Making Loud & Maximal movement *Both can be in an open space, indoors and/or outdoors. When I was defining the motivations to inhabitant transition through a threshold space, I had a reoccuring thought of both spaces can be both open. Closed or tight spaces feel more claus- trophobic which creates a more negative feeling in a space (for how I see it).
  • 7. For each itereation and combination made, to fully understand I created scenario-based spac- es. In terms of how large of a space is needed, and the action being executed I wanted to make sure that the space made is appropriate to the condition being done. 3 & 4 - Transition & Annotation 2 - Start & End Breathing Playing Remembering Thinking Making Dancing For the spaces I had in mind, I wanted it to be two open spaces where movement can be max- imized. But for the starting conditions since they do not fully require maximum movement, I wanted to create an open resting space so the conditions would be met. Remembering --> Dancing scenario: people watching a performance setting: dance studio - > movement -ar circulation -natural light
  • 8. Breathing --> Playing scenario: parents watching their children play setting: family entertainment space
  • 9. Thinking --> Making scenario:people watching a concert setting: concert OVERALL I wanted to include both Hadid and Fujimoto as my precedents, as I think both can go hand in hand and can create simple yet complex structures. For all my iterations, I wanted to incor- porate the soft thresholds made by Hadid while creating and inside and outside experience through Fujimoto’s technique of cutting out parts of the exterior to allow natural light and na- ture into the structure.
  • 10. RECOGNISING CIRCULATION SPACES WEEK 5 CIRCULATION Horizontal Vertical Singular Varied UTS Blog5 Osaka , Japan nini layout . ↑ Sydney Royal Easter show visited Nintendo world * Lusaka Japan & - - level - > changes -- > ↓ ↓ & - * - = - > > - I
  • 11. DIAGRAMMING CIRCULATION PRECEDENTS Breathing --> Playing Based on the thresholds made through the section diagrams I made in the previous module, I selected the Breathing to Playing combination as it is very versatile in space. For the circulation type, I noticed that it would be a singular and horizontal circulation, since while you can move into the space in multiple ways, there is really only one direction.
  • 12. DESIGN 2.2 MODELLING CIRCULATION AND YOUR DEVELOPED SPATIAL LOGIC DIAGRAM Choose a Verb to bend to expand of waves My ideas for the threshold consist of symmetry while having Zaha Hadid as part of my prece- dents, with the soft thresholds. Additionally, from the previous assessment I want to reference the ‘flutter’ concept I had that creates a fluid-like structure, similar to Hadid’s architecture, hence why she is part of my precedents. So with the verbs, ‘to bend’, ‘to expand’, & ‘of waves I want to first seperately identify how circulation happens within them then create different iterations to further understand circulation and curate a final model as my threshold. Overall, my intentions would be to explore models that promote uniform horizontal movement that creates an indoor-outdoor experience with natural light passing through. Transition = breathing --> playing Circulation = uniform/singular --> horizontal
  • 13. “of waves” I used this basket weaving material to construct the iterations. I think this really captures how I want to add the ‘flutter’ concept to my models. This also relates to how Zaha Hadid constructs her buildings and even furniture. With that, I want to incorporate this to create a seamless tran- sition for the threshold. For the three iterations, I did different types of waves (some stemming from the ‘to curve/flow’ verbs) to capture a fluid/flutter effect where the waves curve up and down in different styles. The forms made is a really great visualization of how waves are, they can be consistent and symmetrical or even be in a wide variety of different sizes and lengths. I think what could be improved here is with a different material, that is a bit more flexible, I would be able to fully capture the movement of waves. In terms of circulation, through the waves it somewhat tells you the direction of the space or how you should move within the space, which is something I want to add onto my final threshold model. - · - & & · -h - - · r - · #
  • 14. “to bend” When I thought of the word ‘bend’ I took it literally, as in ‘the bending of joints in our body’ so I wanted to capture that through clay. The first iteration is a reference to the bending of our arms, the second one I thought of squats where you hinge at your hips, bend your knees and sink, then in the last iteration I thought of our hand joints so think of it as two fingers bending in opposite directions. The forms made is a ‘literal’ visualization’ of the bending action, but after further experiment- ing with it, while in a larger scale this would be very interesting structures, this did not fully express the circulation I wanted to achieve at its true scale. But, in terms of the way circulation can bend inside a space, that is what I want to achieve for my threshold model, maybe with a different material the results would differ. Denton two ben po E thre eointe a&
  • 15. “to expand” I had fun with this one since I incorporated the kirigami paper cutting technique. The technique lets me cut into paper without separating the whole piece, but it creates this elastic illusion when expanding it when cutting it in a pattern. This relates to Fujimoto’s concept of the indoor-outdoor structure and how Fujimoto created the House N where there are multiple layers but it seamlessly ties itself together. I think with the paper-cutting method I was able to capture the essence of that while exploring how different patterns create different lighting to the structure. The way the paper is able to expand through length and size by using the paper technique helped me achieve really good circulation and provided great visualization of spaces and its symmetry. I want to incorporate this with my threshold model, with reference to how Sou Fu- jimoto achieved an inside and outside feel with his structure, I think the forms make reference to that (ex. House of N). ↓ - ⑨ ⑨ ↳ /L - ↓ & & ↓ & I - L & ↑ - > & V * T L & F ↑ -
  • 16. For my next iterations, I wanted to combine two verbs together. ‘to expand’ and ‘of waves’ as I believe these could go hand in hand in creating a simple yet complex exterior while having good circulation within. I was recommended to experiment with ‘Mobius Strips’ as the shape it make creates an interesting circulation. For this model, I experimented by combining two different sized mobius strips together and it created an interesting shape while allowing dif- ferent ways to pass through the different spaces made. With this, I wanted to create my final model with reference to this one but having a less com- plex shape to work with as I thought this would be very difficult to curate in 3D. “to expand” + “of waves” Albert Tibby Cottier Bridge I wanted to incorporate how Hassell Studio creates their curving circulations, just like the Albert Tibby Cottier Bridge, the way that its entry and exit points can be interchangeable, I wanted to achieve that in my model. Taking into consideration this circulation along side with the verbs used and how it was formed. I think that would be a great blend of ideas put into one. by Hassell Studio - > ↑ ⑳ - - & &
  • 17. WEEK 6 PROPOSAL 2.0 Precedent/concepts/ideas in mind: Zaha Hadid - Soft/curving threshold Sou Fujimoto - Inside/outside Hassell Studio - curving/interchangeable circulation MODEL CURATION AND PRESENTATION As a culmination of all the precedents, through the model I wanted to express an in- terchangeable entry and exit point (Hassell Studio) while creating a soft and curving threshold (Zaha Hadid), with that I used the rattan material to create a large circle then created the twisting curved by glueing down specific areas. After the model was made, I anotated the spaces and parts where light can pass through, so it would still feel like you are outside even if you are inside (Sou Fujimoto). Analyzing the model, I also saw symmetry in its structure and creating a singular horizontal circulation. S - - - E ② M big ↑
  • 18. After creating a physical model, so that I can under- stand and manipulate how I wanted to create the space. I went onto Rhino to produce the model in 3D. I applied the inside-outside concept by cuting into the exterior in a curve, and the overall shape of the structure is in reference to Zaha Hadid’s curving and soft threshold structures. With creating a symmetri- cal inside-outside space, I felt like design-wise it was too simple and I wanted to incorporate a design that would wrap around the entire structure. Shigeru Ban Expo 2000 Japan Pavillion Through research and looking at pre- vious projects done throughout the diploma, I came across Shigeru Ban and the patterns he creates through his sustainable architecture. For most of his projects he incorporates a para- metric design that creates a cage-like structure that wraps around his build- ings. I took inspiration from the Pa- villion he made for Expo 2000 in Ha- nover. Wrapped around my model is a parametric curving-grid-like design that allows natural light to pass through to create a interesting pattern. While it slightly diminishes the inside/outside concept, I think it is still able to capture through its circulation. MODEL CURATION AND PRESENTATION With that completed, I started to collate and organize all the information done through mod- elling and research based on the modules. ⑳ - -- & ↓ ↳ 7 & ↳ E So ↑ - >
  • 19. PREPARING FOR DISCUSSION ACTIVITY For the preparation for the discussion activity, I grouped with Seoyeon, Muhammad & Kevin for this. We decided on who takes the differ- ent hats and then created a template to format how our discussion flow would go. For my part, since mine was about ‘feeling’ in- side studio culture. It was based more on col- lating all the information given by Muhammad and Seoyeon to provide a neutral ground to the discussion. Since, we all have different ex- periences and feelings towards studio, its best to find both the good and bad about it and find what can be found positive even if the experi- ence was essentially not good for the person. Here we wanted to practice before the class, so we decided to go to class about an hour eary. We refined and gave input to each other on our delivery and tone to our discussin parts. ⑪
  • 20. FINAL THRESHOLD EXPERIENCE SPATIAL LOGIC DIAGRAM Threshold precedent zaha hadid Threshold precedent sou fujimoto D s drawing by erin tagarino student id: 14510147 threshold spatial logic diagram scale 1:50 (a3) concept of fluidity, with dynamic form and flowing lines. (curves & soft thresh olds blurs out the boundary of inside & outside spaces. Breathing Playing nha itat Transition A space in which the indoors and outdoors flow seamlessly together, and vice versa. Playing Breathing threshold movement inside outside opposite of spaces, tight and narrow space large, maximal movement
  • 21. Circulation precedent Hassel studio Design precedent shigeru ban ingular ori ontal Circulation complex geometry, parametric design & structure. caged architecture. interchangeable entry and exit points. curving circulation. Movement Circulation Air Circulation Movement Circulation “to expand” + “of waves”
  • 22. References Anthony. (2002). Designing for Diversity: Implications for Architectural Education in the Twenty-first Century. Jour- nal of Architectural Education (1984), 55(4), 257–267. https://doi.org/10.1162/104648802753657969Links to an ex- ternal site. Art21, (2013) Tools & strategies Richard Serra retrieved from https://art21.org/watch/extended-play/richard-ser- ra-tools-strategies-short/Links to an external site. Bhaskar. (2016). Curation : the power of selection in a world of excess. Piatkus. Boettger. (2014). Threshold spaces : transitions in architecture : analysis and design tools. Birkhäuser. https://doi. org/10.1515/9783038214007 Chaplin, & Stara, A. (Eds.). (2009). Curating architecture and the city. Routledge. Choreographic Objects, (2017) 161220#2 – William Forsythe retrieved from https://youtu.be/xmlyxtkyD9QLinks to an external site. Deamer, P. (2020). ‘Design Pedagogy: The New Architectural Studio and Its Consequences’. Architecture_MPS Dutton, Willenbrock, L. L., & Schon, D. (1989). The Design Studio: An Exploration of Its Traditions and Potential. Journal of Architectural Education (1984), 43(1), 53–. https://doi.org/10.2307/1424986Links to an external site. Hamer, S. (2020) Circulation or how people move through space retrieved from http://portico.space/journal//archi- tectural-concepts-circulationLinks to an external site. McLaughlan, & Chatterjee, I. (2020). What Works in the Architecture Studio? Five Strategies for Optimising Stu- dent Learning. The International Journal of Art & Design Education, 39(3), 550–564. https://doi.org/10.1111/ jade.12303Links to an external site. Smith (Ed.). (2021). Progressive studio pedagogy : examples from architecture and allied design fields. Routledge. Spiller. (2014). Educating architects : how tomorrow’s practitioners will learn today (Clear, Ed.). Thames & Hudson.
  • 23. Personally speaking, this assessment was really difficult for me to cu- rate as I had a hard time making Ideas. While learning from the previ- ous assessment and taking into account what needs to be improved, I still had a similar mindest coming into this assessment similar to the last. But. as the weeks progressed I managed to pick myself back up and come up with random ideas until it would make sense to me or it seems like an interesting idea to push through with. I was able to curate an interesting model while being able to develop my 3D modelling skills. For the next assessment,I will take into consideration the difficulty I had during this assessment to make leeway in terms of time needed. This assessment made me set boundaries on what I should be focusing on and what can and can’t be sacrifiec when producing quality projects. Overall, while there could be imrpovements done, this assessment is my stepping stone into being a better designer and person.