Module 1: Diagramming Design Precedents

TAO Pavilion, Kengo Kuma and Associates, 2018

This is a Taoist temple dedicated to the god of Taoism, Kikoku-shi, which is located 70 kilometers south of Taipei in the Shinpudi mountain range. Rather than putting the roof on top of a box, it is an organic-shaped roof placed right on the ground.

There is warpage at the edge of the roof that is pulled up from the ground, allowing people to enter from the side of the hipped roof rather than the garble or flat-roofed house entrances.

There are no pillars or beams, and there is no roof framing. It is a wooden dome structure with only the joist and the roofing board providing stiffness. It uses 500mm-thick laminated plywood for the joists, which were set in a 500mm pitch. As a result, there is a specific rhythm in the structure, which is similar to that of Tokyo – the protrusion entablature that supported timber buildings in many Asian countries.

Main Isometric Hero View

Material Studies

The usage of trees is vital when it comes to landscaping; such balance equalizes the artificial and the natural. Taoists subscribe to the concept of yin-yang, where everything must be balanced equally between yin (including the feminine) and yang (including the masculine). As a result, trees play a prominent role in Taoist gardens in order to produce yin, and hence the use of Timber to construct this Pavilion is more than a material choice.

Wood also makes it a more lightweight and cozy place to be in, with its inviting and aesthetic capabilities.

Modelling Process

First, I imported the given set of architectural drawings into Illustrator, traced the linework, took it to Rhino, projected it in 3D to create the main skeletal framework of the roof. I used Boolean difference to remove any overlapping geometries. I used the same curves to create the upper skin of the roof using the Patch command and Split to remove the excess. I traced the interior layout and furniture from the given plan and then extruded it to the appropriate height using the section.

Overlaying all these parts together led to the formation of the overall TAO Pavilion.

Check out the 3D Model :

3D Model

Circulation Analysis

Structure defining Circulation

The wooden frame of the Pavilion not only moulds the structure into its unique shape but also dictates how the space within it is experienced. It meets the ground at four points, three of which are highlighted in the image on the left, with the help of minimal structural elements which prodive it a floating element, making the sturcutre feel lightweight and free as a person moves in and out.

Stationary Occupation of Space

The semi-open, semi-closed space within and around the Pavilion is occupied differently by different people. The taoists/ disciples that go there to pray occupy chiefly the main centre of the space that defines it's religious purpose. The tourists and general visitors would normally occupy the areas surrounding the main altar and prayer space. Although these are not defined boundaries of ouccpation of the space, they are resepresend abstractly based on assumption in the diagram on the left.

Dynamism within the space

There are three open accesses to the space, all leading up to the altar. The various paths that one could follow while moving across the space have been outlined in the diagram on the left. The enlcosed waiting space and bathroom have also been acknowledged here and it is interesting to note that the bathroom cannot be accessed directly and the waitng room acts as a transitional pathway when one tries to access it.

Threshold Analysis

Temporalities across the day

The Pavilion is designed in such a way that it provides shade from the sun during the day while the lights built inside of the wooden frame act as a well-lit space during the night. So the structure is designed in such a way that it creates a juxtaposition of light and shadow across the day with its surroundings.

Microclimate

The Pavilion is located at a relatively high altitude and being surrounded by trees and vegetation creates a calm, pleasant and breezy climate in and around its vicinity. The structure's design also allows for cross-ventilation to occur within the space as outlined in the diagram on the immediate right, which also helps in regulating the thermal comfort within the space.

Intimacy

The undulating and organic form of the Pavilion creates a series of semi-enclosed and private spaces within it for semi-private occupation apart from the clearly enclosed bathroom and waiting room at the back of the altar, as depicted on the diagram at the lower right above. The altar is a wide-open space at the center and all the entrances of the Pavilion open into it directly.

Detail Images

Reflection

Overall, I'm fairly satisfied with the work I've completed for Module 1. I believe I have created a cohesive body of work, and I hope it is recognized as such. The possibility to (over)analyze a single structure, from materials to shape, was one of the most enjoyable aspects of this Module for me. I've always enjoyed looking at things beyond their surface value, so this was a great opportunity for me. The production of the diagrams was probably the most difficult aspect of this Module. This was owing to a lengthy process of merely eliminating unneeded lines and a frequent inquiry of whether or not it looked correct.

This iterative approach, however, appears to have paid off, as I now have clean-looking diagrams in understandable formats. A big takeaway from this Module is that I believe I need to establish a solid conceptual framework for my design process in order to achieve a much more fluid and purpose-driven approach. In addition, I'd like to incorporate more diagrams into my creative process, as I found them to be really useful in attempting to comprehend such a complex piece of work.

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