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1. ASSESSMENT 1: INHABITING THE WALL
BY ERIN TAGARINO
ID: 14510147
DAST001

2. content.
WEEK 1 FIGURE-GROUND
PROCESS JOURNAL
Draw a Palimpsest
Sketch Louis Kahn and Aires Mateus figure/ground approaches.
Iterative design cycles to generate figure-ground ideas.
A draft figure/ground plan diagram for an inhabitable wall idea.
WEEK 2 SOLID-VOID
PROCESS JOURNAL
Containment spatial logic.
Comparing Peter Eisenman and Steven Holl sections.
Iterative design cycles to generate 3D Inhabitable Wall diagrams.
Iterative design cycles to generate 3D Inhabitable Wall models
A draft figure/ground section diagram
WEEK 3 PROPOSE 1.0
PROCESS JOURNAL
Diagramming the body
Developed plan and section based on body movement
DESIGN COMMUNICATION DOCUMENT
Figure/Ground plan spatial logic diagram
Figure/Ground section spatial logic diagram

3. DRAW A PALIMPSEST
Generating Lines
WEEK 1 FIGURE-GROUND
Evaluation
Iterations
“What Now” can you try in a new iteration?
Through the iterations made through the palimpsest, I can use them
as a base to create diagrams that contain spaces, have circulation and
create a habitable area for people to move around in. This can be built
up step by step after every week to understand and go back and com-
bine different iterations to create an interesting set of spaces.
*Technically an iteration from a combination of iterations
through subtraction
Exploration / Idea
*used Safety Pins
*overlayed the image and drew out parallel
lines based on each safety pin and its direction
it faces.
*simplified the lines and created iterations
“So What” did you find interesting from the
palimpsest outcomes?
I found it interesting that the generation of
lines can create a wide variety of outcomes and
when creating shapes within them they can
vary between size and shape, so no palimpsest
iteration are the same but can come from sim-
ilar shapes.

4. COMPARING FIGURE/GROUND PRECEDENTS
Sines Center for the Arts / Aires Mateus
Figure
Ground
*Subtraction
Served Space
Servant Space
Level 2
Level 1
Ground Floor
Aires Mateus uses the figure-ground to indicate
Served and Servant spaces.
figure = servent space
ground = served space

5. COMPARING FIGURE/GROUND PRECEDENTS
Trenton Bath House / Louis Kahn
Served Space
Servant Space
- used a typical nine-square-grid
- concept of servant space and served space at the same time
- very symmetrical
- overlaps shapes while still keeping an equal amount of space throughout
the plan
Both architects use the figure-ground concept and interchange their use of served and
servant spaces. The difference between them is that Mateus appraches the concept in
freeform shapes while Kahn likes to keep it very symmetrical.
I think the beauty in that, is that they both show how spaces can be created in symmetri-
cal and asymmetrical patterns.
figure = served space
ground = servant space

6. ITERATIVE DESIGN CYCLES TO GENERATE FIGURE-GROUND IDEAS
Iterations from Palimpsest
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Are there any striking figure-ground shapes similar to
Aires Mateus’s approach?
Similar to the House in Alcobaça made by Aires Mateus,
sharp-edged spaces can be found in my iterations that
create striking figure-ground shapes. While triangluar or
sharp edged spaces can be unconventional, I do think
it creates a whole different circulation which can manip-
ulate how people feel when they move throughout the
space.

7. C
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ITERATIVE DESIGN CYCLES TO GENERATE FIGURE-GROUND IDEAS
iterative design cycle 1 iterative design cycle 2
iterative design cycle 3
Iterative Design Cycle Sketches
chosen design*
The figure-ground concepts can be applied to the iterations by considering
the spaces it creates with its combination of shapes and through that different
spaces can have the figure-ground concept applied through diagramming its
circulation.

8. DRAFT FIGURE/GROUND PLAN DIAGRAM FOR INHABITABLE WALL IDEA
ITERATIVE DESIGN CYCLES TO GENERATE FIGURE-GROUND IDEAS
Iterative Design Cycle Sketches
With my initial design, I divided the model into differnt shapes and planned to have them be of different heights so
in terms of circulation, the movement of the space would be going inwards to the top most level of the model.

9. CONTAINMENT SPACIAL LOGIC
WEEK 2 SOLID-VOID
solid = barrier
void = open space = allows movement
Solid
Void
Solid containing Void
movement within a solid
Void containing Solid
movement around a solid
Find design inspiration!
Taichung Metropolitan Opera House by Toyo Ito
Movement Analysis Diagram
Void
Solid
It can be seen in the design of the Taichung Metropolitan Opera House (by Toyo Ito) that
by carving out or subtracting shapes can achieve the solid-void concept and that it can
create dramatic and complex shapes from curved shapes.
I really liked this design as it leans into Steven Holl’s concept of Solid and Void, that being
spherical cuts onto buildings. Carving spherical or rounded out shapes make the space
look flexible instead of rigid, which is something I want to apply to my design concepts.

10. COMPARING PETER EISENMAN AND STEVEN HOLL SECTIONS
Guardiola House / Peter Eisenman
Holl’s architecture is often characterised by po-
rosity and lends itself to the act of ‘subtraction’
from a base geometry.
The Ex of In House shows the use of subtraction
by carving out spherical shapes.
Eisenman’s architecture starts off with a base and cuts shapes and either displaces them, adds multiple layers in a
sequential way which transforms the shape, look and circulation of the building.
In other words, He would deconstruct the shapes and manipulates the shapes and creates additive shapes which
manipulates the solid and void spaces of the building.
In the Guardiola House he uses the solid-void concept through overlapping additive shapes from the base of the
building.
I think both architects have an interesting way in making spaces by just adding and subtracting with different
combinations of shapes and it creates a more flexible look to their buildings, especially Holl’s. The solid-void
concept is definetely both achieved through their methods and this can be applied to the concept for my
building.

11. ITERATIVE DESIGN CYCLES TO GENERATE 3D INHABITAL WALL DIAGRAMS
For this first attempt, I went a little too ‘functional’ and ended up doing more than I should and it became too spe-
cific. I considered the function of the space too much I ended up not playing aroundwith carving out shapes in
different areas. Immediately scratched this after feedback and tried a different design.
The second attempt, I added a ‘flutter’ style by creating movement through curved roofs. Based on feedback, it
would be best to merge the two to create a more fluid-like feeling and movement towards the model.
Third attempt, I merged the floating roofs
and the solid model into one by add-
ing curved walls. On one side of the wall
I carved into it to create a space within.
But, from feedback while it was my first
time translating my ideas into reality, the
flutter might have diminished in this in-
stance. So the notes were to apply fluidity
to the other side of the wall.
Later on I applied this to concept of fluid-
ity with the model made using my body
movement diagram (week 3).

12. DIAGRAMMING THE BODY
WEEK 3 PROPOSE 1.0
Frames Breakdown
Breakdown (Simplified)
Body Movement

13. DIAGRAMMING THE BODY
Body Movement (Right Arm)
*annotated joint movement
(decided to just do the movement of one part of the body instead of the entire body’s movement)

14. DEVELOPED PLAN AND SECTION BASED ON BODY MOVEMENT
1st Precedent - Peter Eisenman
+ =
2nd Precedent - Steven Holl
- = =
=
+
With the palimpsest created through diagramming my body movement, I no-
ticed curved lines resembeling a tear drop, and through Eisenman’s additive
method I made the scaled the tear drop shape into different sizes and layered
them at different angles to create a ‘fluid-like’ twister shape.
*subtraction
*addition
Void
Solid
Void
Solid
After creating the solid shape, I wanted it to be carves
with rounded shapes and curved lines. Through Steven
Holl’s subtraction method, I carved in the middle of the
twister shape and similar to how Holl creates negative/
void spaces in his architecture, I referenced this method
by carving out spherical solids to create curved angles
on my model. Both in plan & section.

15. FIGURE/GROUND PLAN SPATIAL LOGIC DIAGRAM
Movement Diagaram Analysis
Lighting Diagaram Analysis

16. A
A
BY ERIN TAGARINO
ID: 14510147
INHABITABLE WALL - FLOOR PLAN
SCALE 1:30 A3

17. A’
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18. BY ERIN TAGARINO
ID: 14510147
INHABITABLE WALL - SECTION A-A’
SCALE 1:30 A3
BY ERIN TAGARINO
ID: 14510147
INHABITABLE WALL - SECTION A-A’
SCALE 1:30 A3

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20. References
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21. For this assessment, it was rather difficult to come up with the overall design since
there were so many ways the shapes can be used as spaces through the figure-ground
and solid-void concepts precedents presented the past few weeks. While my model
is pretty drastically far from how others would normally create their inhabitable wall,
I took this as a challenge to see how much I would understand the precedents in a
more complex way.
Combining the concept of ‘fluidity’ with the body movement diagram was pretty spot
on since when we move our bodies its suppose to be ‘fluid’ so being able to create
a space that embodies fluid-like movements is something I suppose is a feat for me.
But, I think what was difficult was being able to translate my ideas onto creating the
model itself as creating the model itself is rather difficult as my level of expertise with
the modelling is software is still no where near professional, but from feedback and
quick video tutorials I was able to translate most of my ideas towards the inhabitable
wall.
Overall, for the next upcoming assessment I hope to still utilize the fluidity concept I
am experimenting with so that there is a uniqueness towards the models I make.