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EM1 Projekt 2011 Gogl

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Scheme of design process

Datei:Gogl, A. - Parameter des Entwurfs Designprozess.png


1) Campus concept - typologies

Datei:M1-SS11-SP-Presentation 16052011-02.png

a) Closed dense campus

the campus is one closed area; mostly build peripheral to cities or as university district within a city;

b) Dispersed

occupying buildings or estates within a city; standard -> focusing design study

2) Campus concept - recognition value

Because focus lies on dispersed university concepts, it is important, that all dispersed buildings have an recognition value, that points out, that this is an university building.


You can do this by the shop window method or the color method but this will not solve certain issues:

shop window method

Datei:M1-SS11-SP-shop window - grocery.jpg

regardless of what kind of brand this shop is, you can tell immediately that it's a grocery store;

color method

Datei:M1-SS11-SP-parc de la villette - red houses.jpg

Building geometry is independent (Bernard Tschumi - Parc de la Villette)

3) Levels of signification

If a signification carrier is not able to transport the information from alpha to omega you need more than one. That is where levels of signification get important.

Issues of information transport:

Datei:M1-SS11-SP-LOS - city tower axo-1.png

Distinction to other buildings is not big enough to be significant or iconic


Datei:M1-SS11-SP-LOS - city tower axo-2.png


Datei:M1-SS11-SP-inside the burj al arab hotel dubai united arab emirates 02.jpg

Iconic building shape can only be recognised from a far distance, because you have to see the whole picture. That means, that it is most likely that you will not recognise the shape when you are in front of it, or you will be in doubt about it, because you can only see parts of it and the shifted perspective will do the rest. The Burj al Arab is a good example for a bad information transport. If you are in the building - whether you just arrived in the basement or eating in the restaurant - you can't tell that this is the Burj al Arab, because the significance momentum of the iconic overall shape is absent in the interior.

Datei:M1-SS11-SP-LOS - city tower axo-3.png

Datei:M1-SS11-SP-levels of signification - city.png

Datei:M1-SS11-SP-levels of signification - superimposition.png

Datei:M1-SS11-SP-The gherkin 0001.JPG


Datei:M1-SS11-SP-gherkin inside.jpg

Information will be passed on to a subordinated signification carrier. Thats where the levels of signifcation method come in place.

Datei:M1-SS11-SP-LOS - city tower axo-4.png

Apply system to all entries of the building, i.e. to subway station, underground parking lot entrance

4) Toolbox - signification carriers theory

a) Colour

Form is independent and can be used to transport a meaning that differs from color

Datei:M1-SS11-SP-parc de la villette - red houses.jpg

b) Symbol

Form is independent and can be used to transport a meaning that differs from color

Datei:M1-SS11-SP-decorated shed 2.jpg

(Robert Venturi's "Decorated Shed" from "Learning from Las Vegas")

Datei:M1-SS11-SP-tama - entry.jpg

Access Limitation at Tama Art University Library (by Toyo Ito)

Datei:M1-SS11-SP-exeter - guy reading.jpg

Datei:M1-SS11-SP-exeter - reading desks inside.jpg

Datei:M1-SS11-SP-exeter - reading desks outside.jpg

Reading/working spaces at Exeter Library Library (by Luis I. Kahn)

Datei:M1-SS11-SP-The gherkin 0001.JPG

Iconic overall shape (by Norman Foster)

c) Linear

Datei:M1-SS11-SP-maxxi rome-1.jpg


Maxxi Rome (by Zaha Hadid)

Datei:M1-SS11-SP-Ju disches Museum - Fassadenschlitze-1.jpg Datei:M1-SS11-SP-Ju_disches_Museum_-_Fassadenschlitze-2.jpg

Jewish Museum Berlin (by Daniel Liebeskind)

d) structure

Datei:M1-SS11-SP-gherkin inside.jpg

Inside Foster's Gherkin

e) material

Datei:M1-SS11-SP-exeter - backsteinstruktur au en.jpgDatei:M1-SS11-SP-exeter - backsteinstruktur innen.jpg

continuous materiality; Brick as façade and on the inside;

Design Method

Step 1: First attempts to a semiotic tool

a) descritptive path finding tool

you need to be a member to be able to understand the meaning --> natural access limitation;

Datei:M1-SS11-SP-line tool.png

b) colour

brightness gradient indexes the exit direction (emergency escape route); The further you are away from the outside, the darker the room, floor or beam structure gets --> easy to find out, can be used by visitors as well;

Step 2: creating a semiotic language for architecture

Datei:M1-SS11-SP-Signifier Symbols-1.png

Letters (smallest components) and transformation principles






transformation principles:


scaling principle (Study about the use of scaling as a principle for allocation and deriving "letters):


21 Degree:


90 Degree:


45 Degree:


Combination of Letters: Prototyping


Subplot (urban context)



Prototype 19



Prototype 20



Prototype 18



Geometrical abilities:

- n to 1 relationship with feedback (informal lecture hall)

- small audience group

- width of ways are proportional to the amount of traffic (closer to exit --> more traffic; because of the momentum of the audience to allocate along the seating)

- axial entry and exit for employe (the section of both tribunes creates (only) on the line of section a "dutch flight" with alternating steps)

- 1 sideway entry for the audience (pointed to the side where the audience is most likely coming from and going to)

- buffer zone in front of lecture hall

- vertical wall transformed at the area of happening (entry, queue)

Signifier abilities:

- narrow = Moving, no staying (walkways, driveways)

- wide = Staying and recreation

- intersection points = quick way for employees

- angled surfaces = places of happening


Gogl Alexander Schumacher Patrik Budig Michael Grasser Georg | EM1 The Semiological Project EM1 Gogl | 11SS Datei:M1-SS11-SP-PT3-03.jpg 11SS

Fakten zu EM1 Projekt 2011 GoglRDF-Feed
BetreuerSchumacher Patrik  +, Budig Michael  + und Grasser Georg  +
ImageM1-SS11-SP-PT3-03.jpg  +
LVEM1  +
Semester11SS  +
ThemaThe Semiological Project  +
TitelEM1 Gogl  +
VerfasserGogl Alexander  +
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