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Qiyu Chen 900388 Tutor: Joel Collins Design Portfolio 2018


Address: 807/421 Docklands Drive, Docklands, VIC 3008 Phone: 04-3232-3378 E-mail: qiyuc@student.unimelb.edu.au

Education: 2017 - current

Reflection:

University of Melbourne Bachelor of Design, Architecture

2015-2016

Trinity College Foundation Studies

Design to me is a rather ambiguous subject that does not have a specific border. I believe that design is a cross-disciplinary study that measures human society through the lens of arts, science and personal experience. The pursuit of beauty, care for human living and dream for shaping future are my most important motivators in design.

Work Experience: 12.2017-1.2018

Intern. Dagu Interior Design, Chongqing, China

Awards / Exhibition: 2018

Dulux Colour Awards, Finalist

2017

FOD:R Exhibition, AFLK Gallery

2017

Tongji Construction Festival, Representative of Melbourne University

Skills: Handsketch/Academic Drawing Rhinoceros Grasshopper

Through Digital Design I have acquired fundamental to advanced skills including diagramming, parametric software and real-time rendering. Those skillsets provided novel approaches to graphic and model making, while simultaneously opened the door to a new perspective of contemporary design methodologies.

I believe that designers should spontanously take the responsibility to guide civilization, no matter aesthetically, ethically or politically. Design should either respond to the existences or create something thoroughly alien. In module two, I attempted to simulate the tide in the ocean through parametric design, and to express the abstract idea of conflict, crash and power. In module three, my design Cyberpunk Heart performs as a representation of the style by capturing the graphical characteristics of iconic paradigms of Cyberpunk, and was embodied the idea of self-restraint in itself.

Unreal Engine Photoshop Illustrator Indesign Farication T-Splines 3ds Max

Languages: English Mandarin Italian

I believe that many areas need to be imporvised in my performance of this semester. One is the spatial considerations of my design. In my design of module three, the pavilion had limited use of space. And another is my presentation skills. I will practice more in the way of presenting ideas.


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Module 1: Diagramming Design Precedent

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Module 2.1: Generating Ideas Through Process (Part1)

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Module 2.2: Generating Ideas Through Process (Part2)

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Module 3: Cyberpunk Heart


1 Diagramming Design Precedent Location: Vienna Radix by Aries Mateus is a clean design that did not employ intricate ornamentation and form making but presented a clear idea of space and materiality and their relationship. Through substraction, the pavilion was given interesting spatial quality that allowed pedestrians to explore the layers of space. Located near the river, the golden dome of the pavilion reflects the water thus the design has good interaction with the surroundings.

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Thresholds (connectivity)

Circulation

Walking Standing

First layer

Sitting

Second layer Third layer

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2.1 Generating Ideas Through Process (Part 1) Parametric modelling technology allows designers to generate patterns in digital format. And through fabrication techniques such as laser cutting and 3D printing, traslating 2D models in computers to 3D objects is made possible. Although these technologies are still in development, they have been put into practice to perform as a production means for small to large scale projects. This module examines and explores the possibility of digital fabrication methodologies including laser cutting and 3D printing. The first part is to generate a model that has both waffle structure and panelling skins. Softwares and plug-ins including Rhinoceros and Grasshopper were employed as the tools for design.

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Design Matrix

Lofts

1.1

1.2

1.3

{38.5, 151, 151}

{0,0,0}

{1, 71, 151}

{151, 91, 151} {151, 61, 151}

Key

1.4 {1 , 1, 151}

{1 , 151, 151}

{151,98.5, 151}

{1,68.5 ,1} {88.5, 1, 1}

{121, 151, 1}

{1, 98.5, 1}

{1, 106, 1}

{151, 151, 1}

{151,151, 1}

Paneling Grid & Attractor Point

{Index Selection}

{Index Selection}

2.1

2.2

{621,538, 0}

{151, 1, 1}

{Index Selection}

{Index Selection}

2.3

2.4

{683,500, 0}

{596,368, 0}

{182,100, 198}

24.5

{151,132.63, 149.66}

Paneling

{Attractor Point Location}

{Attractor Point Location}

{Attractor Point Location}

{Establishing two new surfaces as the grid of offset points}

3.1

3.2

3.3

3.4

+

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+

Surface and Waffle

The idea behind the rule of panelling in this model is to simulate a symbolical figure of billows or breeze with paper. In terms of visual quality, the complexity of panels on two sides vary in order to form a constrast and address the more important role of panels on the left side. The overlapping strips form an interesting image in which sense of motion and thickness is generated.

The criss-cross strips create multiple layers and produce a feeling of thickness. No two strips extend to the consistent direction and this enriches the visual content and interest.

Panels on this side still generate a vortex. But the base panel goes to simplicity and solidity. By contrast with the panels on the other side, those on this side tend to create a clean image.

Thin strips grow from the base by following the shape of a vortex. Regular gathering of strip clusters generates a sense of movement which simulates the tide of ocean and breeze on the field.

Panels on this edge are much longer than the opposites, simulating a surging billow that flood over any object in front.

One of the challenge of making the waffle is to make sure that the centre of the two base surfaces The centres of the waffle structure on both sides tend to sunken in. At the shapest edge those surfaces meet. On the one hand, it increases the fun for observastion. On the other and, it gives space for panels of sunken in as well, which helps with shaping the overall picture.

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donnot intersect. The centre of them are made to sunken deepy to “kiss� each other. However, since the x-axis waffle structure grows inwards the inbetween. Therefore, there needs enough space for the waffle.


Computation Workflow

By defining coordinates, a cube is generated as the boundary of

Choosing points from the edges of the cube and

the structure.

connecting the points in pair give two lines to define the surface.

By lofting the lines, a surface is created.

The offset grid was made

The mapping

from a new surface.

of panels was created based on the previous grids with a base panel.

The base grid was made from the surface create in step 1.

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Defining the grid by setting

Creating the waffle by

Mapping the location for

the spacing.

setting the width.

subtractive boxes.


Giving volume to the boxes

Creating the subtracted

Lay out single structures and

based on the locations previously mapped.

waffle structure that can be assemblied manually.

prepare for laser cutting.

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x16 x7 x6 x5 x4

z3

z8

x15 x14

z7 x13

x19

x12

z2 z6

x3 x11 x2

x10

x18

z5

z1

x1 x0

x9 x17

z4

z0

x8

Laser cutting brings the convenience of model making. However, the restriction or limittion of this technology is that it cannot cut objects smaller than 2 mm. Also, due to the working theory, it will create burnt edges at behind.

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2.2 Generating Ideas Through Process (Part 2) Additive fabrication is adding materials to create objects from digital files. The invention of 3D printing provided a new way of production. The machine applies materials on the rafter and adds them up layer by layer. Adopting this method in architectural model making shrinks the time and effort, and increases accuracy and cleanness. The second part of this module explores digital tools including Rhinoceros and Grasshopper to generate a subtracted geometry and brainstorm architectural possibilies in the model.

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SOLID AND VOID

The exterior are made of overlapped triabgles with soft edges. One can imagine it as a panoramic Asian landspace painting.

Back Axonometric 1:1 0

14

20

60mm

Front

The interior can be seen as a epitome of a karst landform where the bedrocks are dissoluted and stone walls grow from the ceiling and generate multiple layers of space. The walking experience becomes a tour of enjoyment and appreciation. In this sense, the architecture is no longer a tower for accommodation or production. Instead, it is given the notion of pure beauty. And it is hence turned into a dimension of sense. It functions as a substitute of Nature (if it is man-made) or a complement of housing (if it is natural).

Numbers of domes intersect each other and generate thresholds and routes for circulation. The cone structure of each room gives spatious places for activities. By looking upwards, visitors will be astonished by the beauty of hierachy, if the pavilion is in olarge scale compared to human.

Inner Structure


Design Matrix {50, 74, 326} {112, 95, 276}

Grid Manipulation

1.1

1.2

1.3

1.4

Key {0,0,0}

{-834, 173, 110} {75, 209, 132} {-79, 59, 66}

{189, 130, 132} {-42, -1, 76}

{32, -35, 76} {8.5, -54, 0}

{Curve Attractor}

{138, -54, 0}

Cone Distribution

2.1

{Point Attractor}

2.2

{Index Selection}

{Point Attractor and Curve Attractor}

2.3

2.4

{-107, 73, 124}

{45, -6, 102}

{46, -40, -11} {Attractor Point Location}

{Point Attractor}

{176, -134, 67}

{Gaussian Curvature}

{Volume Gravitational Centres}

{147, -87, -5}

Cone Transformation

3.1

3.2

3.3

3.4

{-188, 28, 129}

{172, 185, 96} {179, 176, 96}

{229, 281, 88} {226, 266, 85} {198, 206, 96} {205, 197, 96}

{270, 273, 91} {267, 259, 88}

{205, 197, 41}

{-19, -25, -9} {278, 273, -15}

{Consistent Scaling}

{Point Attractor}

{Morph}

{Random Scale}

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Mapping the basic points of

Generating mutated points

Creating boxes from the

Locating cones in each

Creating differently sized

each sector.

of each sector.

grids.

designated box.

and loosely located cones to use as the subtraction tool.


3 Cyberpunk heart Location: King’s Garden Victoria

Cyberpunk Heart is an architectural representation of an alternative style, Cyberpunk, and a conveyor of deeper meanings. Drawing from animated film Akira and inspired by album cover designs of the band Electric Light Orchestra, this pavilion embraces the cyberpunk culture and illustrates imagination of the future metropolis. The project is an exploration in parametric design and real time rendering. With Rhinoceros, Grasshopper and Unreal Engine as design tools, possibilities of creating expressive forms and visual effects arise.

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Key Circulation Paths Climbing Paths

- Canopies

Primary Circulation

LED embeded in semi-transparent white curved panels

Spacial Threshold

- Tubes

Red-coated LED with glossy surface

- Skeletal Structure

Intersecting curved strips made with stainless steel



Exploded Isometric 1:50 0

1000

3000mm

The pavilion is made of two major components including a tree-root system as platform and a centre pavilion. Visitors can either follow the path to access the centre pavilion or relax in the space between the roots. Major openings between the skeletons in centre pavilion perform as the entrance to the inner space. Flying metal strips serve as main structural supports as well as climbing facilities. The concept is tightly linked to Akira and other futuristic artworks alike including Ghost in the Shell (1995) and musicians such as ELO. A common point they all share is their wild and brave imagination of the future. By capturing their distinct visual qualities, Cyberpunk Heart was created to be a cultural icon and sculpture.



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Creating random points using Heteroptera plug-in.

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Drawing curves from the Allocating points on curves

Connecting tubes with the

points.

skeletons to create a pavilion

Thickening the curves.

Connecting points and thickening the lines to create pipes.


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