Lecture 1.3: Diagramming, Synthesis

Diagramming as an instrument of design is used for analysis of an existing relationship. Points and lines as derived from El Lissitsky is one visual language of transformation. Diagramming may also be used an a generative tool to sythesize, create, new relationships. The following list of of relationships types will be demonstrated through different visual languages of first abstraction but then used to synthesize new relationships as test of possible outcomes for design architecture.

Circulation, from Existing
Program
Spatial Modulation
Structure, ‘Stupid but Smart’
Parti, Volume
Circulation, New
Lighting
Fit to Human Body

The following readings will help:

Between Diagrams and Matter (required) by Alejandro Zaera-Polo

Give Me a Gun and I Will Make All Buildings Move (required) by Bruno Latour and Albena Yaneva

Diagrams_Envisioning_Architecture_Fraser (optional, maybe view images and skim read)

figure 1, Frameworks for Participation, Philip Speranza

The idea of systems as unit, organization over change (variation) is relevant for these types of drawings. The backgrounds may be seen as the organization (see figure 1), the diagramming language as the unit and the graphic differentiation (size, line weight or line type) may be seen as the variation. The unit and how it varies in the examples above as people is not necessarily created by the designer but predicted as probable scenarios (Schwartz, The Art of the Long View). Together these two element make up life.

figure 2, “Life” Diagram, Seattle Public LIbrary, OMA Rem Koolhaas

CIRCULATION, EXISTING

This example begins by mapping existing using to determine new locations with the site of a design competition to locate scenarios of uses at specific times. The structure or organization provides a framework for four variations of use to occur at different times, locking into the human participation (units varied) across the week.

figure 3, Time-base scenario diagrams, Finalist Market Value Competition, Speranza Architecture

figure 4, Competition boards, Finalist Market Value Competition, Speranza Architecture

figure 5, Scenarios Diagrams and Ramblas of Life, Speranza Architecture

figure 6, Circulation Diagram, Jasmine Alcaide, NJIT

PROGRAM

Programs are often provided by a client and provide a depth of information of client teams and expected uses of space and their respective areas. Programs maybe be transformed into graphics through measured area in Autocad or by hand, as associated with color, and typography varying text size color and form. Consider: 1) a language of abstraction; 2) differentiation of this abstract transformation; 3) callibration until patterns emerge…and then 4) change the system and test new possibilities.

figure 7, Media Timeline Diagram (2nd degree Cataloging), Seattle Public Library: OMA, Rem Koolhaas

1. http://www.archdaily.com/11651/seattle-central-library-oma-lmn/

2. http://www.spl.org/prebuilt/cen_conceptbook/page2.htm

3. http://www.oma.eu/projects/2004/seattle-central-library

figure 8, Programming Reshuffling Diagram (Cataloging then Testing Patterns), Seattle Public Library: OMA, Rem Koolhaas

figure 9, Inside-Outside Section Synthesis Program Diagram (“3rd/4th degree Testing Patterns), Seattle Public Library: OMA, Rem Koolhaas

figure 10, Media Synthesis Diagram, Seattle Public Library: OMA, Rem Koolhaas

Models are diagrams.

figure 11, Inside-Outside 3D Synthesis Program Diagram, Seattle Public Library: OMA, Rem Koolhaas

figure 12, Seattle Public Library: OMA, Rem Koolhaas

Mansilla + Tunon

figure Plan Program Diagra, Mansilla + Tunon

http://mansilla-tunon-architects.blogspot.com/

http://www.moma.org/explore/multimedia/audios/25/568

SPATIAL MODULATION

Differentiation in diagrams may consider the most fundamental of architectural relationships, namely the modulation of space. The example below of Escorial shown in images shows the variation of the unit of room from large formal facade to enclosed transitional space to enclosed courtyard.

figure 13, Real Monasterio de San Lorenzo de El Escorial, 16th Century

(http://www.monasteriodelescorial.com/)

figure 14, Casa da Muscia, Porto, OMA Rem Koolhaas

http://oma.eu/projects/2005/casa-da-musica

figure 15, Casa da Muscia, Porto, OMA Rem Koolhaas

STRUCTURE (‘SMART BUT STUPID’)

Structure may also be diagrammed and analyzed. Structural systems are often chosen from these diagrams. These systems are often chosen for efficiency of a type but the work of Structural Engineer Cecil Balmond and the term coined by him and Rem Koolhaas “Smart but Stupid” explains the intentional irrational use of various structural systems to make evident to visitors this poetic celebration.

figure 16, Casa da Muscia, Porto, OMA Rem Koolhaas

figure 17, Kunstal, Rotterdam, OMA Rem Koolhaas

PARTI DIAGRAM

Slide 18, Photo Elevation, The Wyly Theater: OMA

figure 19, Program Reshuffle Diagram, The Wyly Theater, OMA

figure 20, Section Program Diagram, The Wyly Theater, OMA

The ‘Smart but Stupid’ idea of expression through inversion of rational understanding was previously used by Mies van der Rohe in examples such as the decorative steel profiles of the Seagram Building.

1. http://www.archdaily.com/12521/wyly-theatre/

2. http://www.oma.eu/projects/2009/dee-and-charles-wyly-theater

Another example volumetric diagrams are those done by MVRDV’s for the VPRO, seen below in diagrammatic polystyrene models and digital 3D models saved as line drawings.

figure 21, VPRO, MVRDV

CIRCULATION, NEW

figure 21, No Return Circulation Diagram, Foreign Office Architect, Alejandro Zaera-Polo and Farshid Moussavi

LIGHTING

An important aspect to measure is lighting. While the lighting criteria may vary by program and use the site orientation, location and surrounding environment may also affect the lighting of architectural space and thusly be diagrammed.

Jean Nouvel