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Digital Design - Portfolio Semester 1, 2019 __

Danielle Lee 930970 Studio 13 - Sean Guy

DANIELLE LEE hp: +61 450 263 970 email: daniellel2@student.unimelb.edu.au

EDUCATION: 2017 - present 2016 - 2017 2011 - 2015

Bachelor of Design (Arch. major) GCE A-Levels Kuen Cheng High School

AWARDS/ EXHIBITION: 2017 COMPETITIONS: June 2018 Nov 2018 SKILLS: Rhino Grasshopper Unreal Photoshop Illustrator Indesign

FOD:R Exhibition, Dulux Gallery

Robot Brick Stacking Competition Wuxiang Mountain Land Art Competition

REFLECTION:

CONTENT:

Digital Design has open up new possiblities from invention, iteration and fabrication process. Not only I have developed skils to design parametrically, I have learnt to understand the importance and advantages of these tools could offer. I began to develop the ability to differentiate what I like or dislike in my design process, and identify the most efficient way to approach my design from iteration to fabrication.

MODULE 1

As a designer, I aspire to learn from architects that have decades of experience in the field of architecture. I believe that having an open mind, being a good listener, honesty, and trust is the best way to approach architecture in terms of coordinating with other disciplines in the field of design. I realised that throughout the course of the semester, I have always challenged myself to pursue forms that are outside my comfort zone, despite enduring with longer hours of work, I felt really rewarding being able to visualise and produce from that I desire. I think that by continuing to develop my parametric skills and be more familiar with the tools, I can shorten the duration of time to produce forms that I want.

Fabrication Autocad

DIAGRAMMING DESIGN PRECEDANTS

MODULE 2.1 GENERATING DESIGN THROUGH DIGITAL PROCESSES SURFACE AND WAFFLE

MODULE 2.2 GENERATING DESIGN THROUGH DIGITAL PROCESSES SOLID AND VOID

MODULE 3 QUEEN VICTORIA GARDEN PAVILLION

MODULE 1

DIAGRAMMING DESIGN PRECEDANTS

The key concept of the Radix pavillion was intergrating the new with the old. It combines history and contemporary technology in seek of continuity rather than novelty. It reminds you of the brick arches from arcaded arsenal gallery but presents itself as a new form with steel arches using modern computational technology. An isometric view looking from South West was chosen because the circulation and threshold can be clearly seen in the image. In addition to that, it framed view of the Arsenal dock and showed how people are interacting with the pavillion. From looking at this isometric view, we can easily figure out how the form was made by substracting a solid with two spheres and one ellipsoid. In fact, the modelling process of constructing each panels for the ellipsoid took the longest time due to its complexity in nature.

Isometric 0

Structure/Solid

External Steel Structure/ Heavy

Voids /Circulation Space

Inrternal dome-shaped structure / Arches/ Light

Radix Pavilion 2012 by Aires Mateus The installation for the Venice Biennale was designed by Aires Matues )Francisco and Manuel Aires Mateus). It is an elegant contemporary response to the architectural setting of the Biennale, and it was the arch walkways that inspire this structure. Radix is an arch supported on three points with the fourth corner hanging over the water, turning the otherwise massive steel structure into a lightweight balanced volume. Circulation pathways

Degrees of intimacy

Circulation Diagram

Threshold Diagram

The circulation paths are defined by the voids and

The threshold or in-between spaces of the pavillion blurs the

substraction of the solid. The void which frames the water

boundary between the three different spaces within the

canal view have a greater flow of people because it is an

pavillion. The different height of the arches create varying

attactive feature and allows people to gather near the

degrees of intimacy. The sensation of intimacy could be felt

water and stay away from the chaos that characterise the

when someone is walking directlyunder a lowest point of the

noisy, dirty streets.

arch.

MODULE 2.1

GENERATING IDEAS THROUGH DESIGN PROCESS: SURFACE AND WAFFLE

Lofts

1.1

1.2

1.3

Key

1.4

{0,0,0} {105, 0, 150}

{150, 90, 150}

{75, 150, 150}

{150, 0, 150}

{0, 150, 150} {0, 75, 150}

{0, 0, 90} {150, 0, 135} {0, 0, 150}

{0, 45, 0} {150, 150, 90}

{105, 0, 0}

{Index Selection}

{0, 0, 45}

{135, 0, 150}

{75,150,150}

Attractor / Control Points (X,Y,Z) Attractor / Control Curves Grid Points Offset Points

{105, 0, 0}

{150, 150, 135}

{150, 60, 0}

{30, 150, 0}

{150, 120, 0}

{0, 0, 60} {0, 0, 45}

{0, 0, 90}

{135, 150, 150}

{0, 150, 90} {0, 150, 0}

{0, 135, 150}

{150, 75, 0}

{150, 30, 0}

{75, 150, 0}

{Index Selection}

2.2

2.3

2.4

{Offset points 6mm }

{Offset points 9mm}

{Offset points 12mm}

{Offset points 15mm}

3.1

3.2

3.3

3.4

Paneling Grid & Offset Grid

{Index Selection}

Paneling

{45,150, 0}

Design Matrix In terms of selecting the two surfaces, I created a logic in which the first surface have two points touching the bottom of the box, one point in the middle and one point touching the top of the box. Whereas for the second surface was the opposite, two points at the top, one in the middle, and one at the bottom. This it to create the two constrasting

tectonic quality, and the form itself was inspired by the

was formed(3.4). 5X5 grid were explored initially however

motion of two partnering dancers, one lifting the other, while

since the geometry was quite complex, 3X3 would be more

the top surface is light and lifted, the bottom surface has

suitable for this rib vault design.

strong and anchoring qualiities. Different offset points and height of the 3d panels with intervals of 3mm were used to create 5 iterations and then using cull pattern, the surface

Surface that has high exposure to light prevents shadow from forming on the surface.

An interplay of light and shadow, perforations in the panels allow light to pass through and create shadow patterns that cast within the waffle. The perforations run horisontally (in which design 3.4 was chosen rather than 3.2) to emphasise the wing of the surface as if it was hovering on top.

The tesellation of the shape inspired by the rib vault attempts to break away from the square grid, forming different perspectives when one looks at it. Only one point that is touching the ground to create feeling of lightness and the look of being lifted up.

The nature of waffle structure that bends inwards creates opportunity for shadow on the 3D panels when light casts onto the hole structure.

The two curvatures of the surfaces and the waffle wraps around each other to create a continuous movement and gesture when one walks around it.

The design of a rib vault with multiples surfaces creates different shades when light casts on it.

Waffle Fins that spread outwards emphasises a greater surface area in which the waffle is touching, creating a feeling that it is anchored onto the ground. Two points are grounded to create feelings of heaviness and rigidity.

The variation and iterations of the height of the vaults (gradually higher towards the bottom) emphasises the rigidity and load concentration of the structure, creating the look that the 3D surface is supporting the lightweight 2D panels.

Isometric 0

120mm

Computational Workflow

Defining two surfaces

Creating Waffle Structure

Laser Cut Layout

Make Box and use deconstruct brep and list item to extract the curve. Then, using divide curve, select the point on the curve using list item.

Contour the surface in X and Y direction. Offset the contours in XY and YZ plane, by using Loft. Cull index was used to cull any unecessary items. By using Brep Brep, intersection of fins can be found, and rectangles were constructed subsequently. These rectangles were extruded in the x,y z directions, and cap holes were used to closed the rectangle.

Using orient command, the area of these y fins and x rings were first identified and by, referencing a point, they are reorient to the centroid of a rectangle. Text tag 3d command were used to add labels and numbers to the waffle structure for ease of identification.

These rectangles were substracted from the waffle fins using trim solid, the boundary curves were formed by using brep edges and joining curves.

Computational Workflow

Defining the points

Making surface

2D Panel Units

Make a rectangle and locate the points on the curves to create desired shape.

Connect all the lines, then use boundary surface to create the tesellation pattern.

Using morph 3D Command, the brep is reference to the surface grid points.

Computational Workflow

Defining the points

Constructing the vault pattern

3D Panel Units

SImilar to 2D Panel design, points were firstly defined on two rectangles.

Connect all the lines, then use boundary surface to create the tesellation pattern.

Using morph 3D Command, the brep is reference to the surface grid points. Cull pattern is used to select the pattern wanted to be reference onto the surface. Five iterations were made, to creating a more grounded feeling at the bottom and more light feeling towards the top of the surface.

Fabrication Process (Laser Cutting)

3D Panelling Units (9 total)

2D Panelling Units (9 total)

Waffle Fins (25 total) Waffle Ring (13 total)

MODULE 2.2

GENERATING IDEAS THROUGH DESIGN PROCESS: SOLID AND VOID

Attractor Points

1.1

1.2

1.3

Key

1.4

{0,0,0}

Attractor / Control Points (X,Y,Z) Attractor / Control Curves

{252, 336, 151}

Grid Points {-269, 62, 0}

Randomly Selected Points {106, 239, 0}

{-560, -300, 199} {-595, -402, 199} {-63, -68, 0}

{49, 19, -57} {165, -385, 0}

{140, -50, 0}

Centroids Voronoi Cells

{Point Attraction}

{Random Attraction}

{Curve Attraction}

2.1

2.2

2.3

2.4

{Random Selection 1}

{Random Selection 2}

{Random Selection 3}

{Random Selection 4}

3.1

3.2

3.3

3.4

{130, -512, 0}

{6, 57, 133}

{Curve Attraction}

{6, 57, 133}

Design Matrix I explored different ways of creating attractor points using

flattened into a single list and using list item and random

weaverbird mesh takes a much longer time to produce, but

Point Attraction, Curve Attraction and Random Attraction.

command, the centroids points were randomly selected

the voids that was created has more interesting outcomes.

Curve Attraction (design 1.3) was chosen because there is

to input the 5 different iterations of the geometry as breps.

some compact cells which could allow more geometries to

Voronoi cells were explored and weaverbird and lunchbox

intersect with each other. Random attraction did not work

was utilised to give its curvature and smooth finish. The

well because the cells couldnt be formed due the cells grids

outcome of the initial voronoi cells have very sharp edges

that intersect with each other. Next, the centroid points were

which is not desirable to my liking eventhough working with

Voronoi cells that intersect with the top of the box allow light to penetrate into the space and lit up the interior space.

The extracted 50x50mm cube from the solid has different size and shapes of voronoi cells which create different threshold and endless possibilities of iterations.

The intersection of voronoi cells creates permeability and porosity for interconnectivity of spaces.

The accidental quality of three cells intersecting generates complexity and allows for different thresholds and circulation.

The substraction of the volume creates different volume of space and the nature of voronoi cells create rounded and fluid spaces for people to experience The rounded corners of the voronoi cells act as an affordance for seating and leaning.

Isometric 0

100

150mm

Computational Workflow

Defining the Grid Points

Defining the Centroid Points

Creating variation on overall geometry

Adjust the grid points using points attraction and curve attraction and using the cellulate 3D command, we can determine the centroid points of the 9 cells within the cube.

These centroid points were randomly selected by using list item, to locate the 5 different size of voronoi cells in the cube to create variation, then, by using the Scale NU command, remap numbers, construct domain to create a ,more dynamic internal spatial relationship.

Then, mesh boolean difference command was used to trim the cube away with the voronoi cells

Fabrication Process (3d Printing) Boolean Difference

Mesh

Export as Stl

3D printing

Removing Support

Orientation of placing on the geometry can significantly impact amount of support needed and amount of time needed for 3d printing.

MODULE 3

QUEEN VICTORIA GARDEN PAVILION

Minimal Matters

Triply Periodic Minimal Surfaces

Schoen’s Gyroid Surface

Form Finding Minimal matters explores the concept of minimal surface and looking at precedants such Marc Fornes perforated aluminium pavillions and Zaha Hadid ´Knit Candela´which utilises two triangles to create a minimal surface form. Minimal surface is a locally minimising surface and each small piece has the smallest possible area for spanning the boundary of the piece. My intention was to study triply periodic minimal surface, in particular, Schoen´s Gyroid Surface. as a technique to develop a continuous seamless surface and the spacial quality they could offer.

Firstly, these units are highly repeatable through mirroring and rotating, and they have a high connectivity because each unit changes relationship from one to another. Third, porosity is one of the quality that characterises minimal surface, as it has a higher degree of selective visual connections to occur inside the space. Lastly, since every point on minimal surface is zero, it has a high degree of flowability as it continuously flow and fill the space in a series of weaving surface.

Some spatial qualities that were examine were modularity, connectivity, porosity and flowability.

The curvillinear surface is defined by 12 units of tetrahedron, and they changes relationship with one unit and the other Light and open aluminium skin structure to create an elegant form in conjunct with the Semi-enclosed

performance

space

but

opposite arts precinct

intimate and interactive with audience Perforations allowed for light and shadow infill into pavillion The step-down creates a seating space to allow for viewing of performances inside the

These wings opens up to create a

pavilion.

welcoming gesture

Perforations

creates

different

lighting

condition within the interior space that may start to inform the threshold The language of steps follows the original slope of the topgraphy

The step-down creates a seating space to

Aluminium panels allows reveberation of

allow for viewing of performances inside the

sound so that audience may enjoy seminar-

pavilion.

quartet

Pathways are connected towards the main

Activities flow out into the landscape given

roads so it is visible towards the public and

its higher topography

they act as a threshold before entering the pavillion

Isometric 0

10m

Porosity Diagram

Threshold Diagram

Computational Workflow

Defining a Tetrahedron

Triply units of tetrahedron

Defining points on tetrahedrons

First, make a box and using list item, connect lines at the opposite corners to create three triangles which would make up a tetrahedron.

Using miror, rotate 3D and plane 3 point command to construct three tetrahedrons.

Firstly, the center line of each faces of triangle of the tetrahedron have to be define, to act as a control point for the bending of the nurbs curve. Then 6 units of surface was created using nurbs curve, point on crv and edge surface.

Computational Workflow

First Half

Second Half

A half of the square is filled with 6 units within three tetrahedron.

The six units are mirror in symmetry to fill the whole cube. Next, using rotate 3d, a more desirable form is created.

Computational Workflow

Kangaroo Relaxation

Peforation Patternisation

To make the form a minimal surface, Kangaroo was utilised to provide the naked vertices as the anchor points and force towards it to allow the structure to relax further. The length factor of edge lengths is set to zero because the principle curvature at each point is zero

Perforations are added to create a more dynamic interior space for the performance and lunchtime seminar.

Design Iteration

First iteration

Second Iteration

Third Iteration

Schoenâ€™s Batwing

The top of surface is too flat, some openings are too wide.

Third iteration it has only one entry and exit point. I did not use it as I found it is more insteresting after rotating it 3 dimensionally.

Very insteresting structure but hard to facilitate functions within a pavillion

Vignettes

Vignette 01 Night view approaching pavilion

Vignette 02 Interior close-up perforations

Vignettes

Vignette 03 Day Time Pavilion

Vignette 04 Light as a threshold in the interior space

Fabrication Process

Due to the size of the machine and allowance, the final pavillion have to be fabricated in parts before merging them together. Initially, peforations were added before 3D printing, however as they are really small in size, it wasnt very efficient to work with perforated mesh because they take a greater computational power and long time to load. It was to my surprise that the cost and time to print the perforations were too costly and time consuming. Thus,my final decision was to omit the detail to prevent any failure of printing and long hours of fabrication, since the perforations can be experienced in Unreal and through the perspectives. 3D printing error

Laser Cut Units for Landscape Terrain

360 Image Output

Digital Design - Portfolio Semester 1, 2019 __

Danielle Lee 930970 Studio 13 - Sean Guy