697718 Studio 16 // Han Li
JEREMY BONWICK
DIGITAL DESIGN
04
TWISTING PAVILION
22
ONTENTS
PRECEDENT STUDY
08
GENERATING IDEAS
2
CONTACT: jeremy.bonwick@icloud.com jeremybonwick.com.au youtube.com/SkyboundProductionYT
BIOGRAPHY SELECT ACCOLADES:
EDUCATION:
REFLECTION:
2018
Dean’s Honours: Design Year 1
2017 - current Bachelor of Design
2017
FOD:R Exhibition, AFLK Gallery
Winner AFL Record Cover Competition
2014 - 2016 2013
Finalist in SHORT to the Point FF
Graphic Design LoopType exhibition
The skills that were developed over the semesters work provided new challenges and opportunities in design. The daunting parametric environment became a playground for developing new ways of building up design ideas with the opportunity to iterate and make alterations with ease. The parametric environment also allowed for a tight control of complex design ideas; rationalising shapes and randomness with components within the script which give reasons for forms — for example the use of parametric to define the rough form of the final pavilion gave it a tighter logic than if it had been completed freely in Rhino. My designs throughout the semester were driven by the ways in which humans interact with the built form. This idea manifest in the Burnham Pavilion, the initial precedent study, in which Zaha Hadid controls flow and experience of a space through carefully considered design choices. Throughout the design of the final pavilion these ideas were brought to the forefront; looking at ways the landscaping could draw people into and around the structure, holding and directing their attention whilst also being visually pleasing. This sense of movement also ties into the key concept of twisting which drives the entire design of the pavilion. I believe that strong design holds at its centre a conceptual idea, some basis on which all choices are made, even if it be a simple one like the idea of twisting. Every choice I made through the design process was put through the lens of this concept in the hope that all these choices gel together to form the absolute whole which is the pavilion and its landscaping. Even the tiny detailing is subject to this conforming ritual, thus the visitor to the space might not perceive every one of them but the whole experience feels subconscious cohesive.
Bachelor of Arts Scotch College
EMPLOYMENT:
2016 Screened at Inter-University Short Film - Competition, Bangladesh
2016 - present
Sports Photography
2013 - present
Miscellaneous Freelance
2015
Best Film Boroondara Film Festival
Videography
2014
Top 7, All American High School Film
- Festival, New York
SKILLS:
STUFFit Best Senior Live Action Film
Warburton Film Festival Best Film
Rhino Grasshopper
2013
DUX of 3/4 Media, Scotch College
Unreal
Action Cut USA: Most Promising Young - Student Filmmaker Award
Photoshop
Screened at St Kilda, Made In
InDesign
- Melbourne and Boroondara FFs
Fabrication
2012
BUFTA Awards Best Documentary
Photography
BUFTA Awards Best Cinematography
Videography
Finalist at Screen It and Little Big Shots
DUX of 3/4 Studio Art, Scotch College
2010
Finalist in Tropfest Jr., Sydney
Illustrator
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MODULE 01
ZAHA HADID
Diagramming Design Precedent
BURNHAM PAVILION Zaha Hadid’s Burnham Pavilion presented as an interesting study in the manipulation of space and form to affect the visitor and viewing experiences. The form is a shell-like cocoon with slits in the roof to permit light and other environmental factors to enter the space. The design is focused around the visitors approach to the structure, with ramps at the openings angled to choreograph the flow of people in and out whilst also controlling their aspect of the interior space, obscuring the secondary opening to create an apparent singular experience of moving in and out one opening.
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{Dispatch every second pannel}
Design Matrix 1:5
Entrance
The second face curves in and over the second giving almost a sense of cantilever at the top as it reaches into thin air
Half of a face is removed from the paneling to create an opening. This opening does not vary across the surface and creates a rhythmic and consistent pattern across the face with the varying openings acting to break this rhythm with small punctuations.
When viewed from one angle the faces appear mostly closed but when rotated 90 degrees there are more perforations visible. This would permit light from certain angles whilst blocking it from others.
Entrance Hadid’s design focuses on an internal experience which is in some ways removed from that of the exterior form in terms of scale. These ideas I would end up taking forward into my final pavilion design along with the ideas surround approaching the structure and a directed flow into, around and out of the pavilion.
Exploded Axonometric 1:1
00
20 1m
Scale 1:125
5
60mm 3m
697718
MAIN ISOMETRIC MAIN ISOMETRIC
Isometric 1:75 0
CIRCULATION DIAGRAM
1000
THRESHOLD DIA
3000mm
MAIN ISOMETRIC CIRCULATION DIAGRAM
CIRCULATION DIA THRESHOLD DIAG
CIRCULATION DIAGRAM Entrance Entrance
Entrance
Main Structure
The proposition behind my circulation diagram is that the entrances to the pavilion were choreographed by Hadid to affect the experience of the space. In my diagraming I drew attention to the angles of approach which had a view straight through the space, were the openings lined-up. This scenario would cause people to move through the space more linearly. The opposite is true if the opening is not visible, where visitors are entering with no idea that there is an exit. The internal space will therefor hold them for longer as their expectation upon entry is of a singular experience. The limited trafficable space inside also condenses people’s experience.
Entrance Entrance
Entrance
Structure Overhang Exterior Footprint Interior Floor Space
Circulation Paths (colours correspond to opening visibility below)
Opposite Opening Obscured Opposite Opening Visible
Circulation 1:200
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THRESHOLD DIAGRAM
NATION ISOMETRIC DIAGRAM
CIRCULATION DIAGRAM THRESHOLD DIAGRAM
THRESHOLD DIAGRAM
Roof Openings Permitting Light
THRESHOLD DIAGRAM
Main Structure
Outer Shell with Openings
Entrance
Structure Overhang
Skeletal Frame Structure
Exterior Footprint Interior Floor Space
Circulation Paths (colours correspond to opening visibility below)
Interior Wall and Light Well Opposite Opening Obscured Opposite Opening Visible
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There are a few levels of threshold through the Burnham Pavilion. Most notable there is the interior walls which form a small interior cocoon which breaks from the volume of the exterior. The wall is a containment, holding back the outside and the structure itself. In the same fashion, the skeleton of the structure creates a visual threshold between the outside skin and interior. Once inside the openings in the roof create a changing striated pattern on the floor, creating a threshold which people must traverse to move through the space, moving in and out of the shafts of light entering through the slit-openings. Thresholds 1:200
MODULE 02
GENERATING IDEAS THROUGH PROCESS
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Task 01 Design Matrix
Lofts
1.1
1.2
1.3
{0,150,150}
{0,150,150}
1.4
{0,150,150}
Key
{0,150,150}
{0t,60,150} {75,150,150} {0,150,150}
{150,150,150}
{0,0,150}
{150,150,150}
{150,150,150}
{150,75,150} {150,50,150}
{x,y,z}
{0,150,0}
{150,0,150}
{0,150,0}
{150,0,150}
{0,150,100} {150,150,0}
Grid Points
{150,25,150}
Obscured Lines
{0,100,0}
{150,150,0}
{0,0,0}
Middle Lines in Morphed Surfaces
{0,50,0}
{0,25,0}
Base Grid Areas {150,150,0}
{75,0,0}
{Index Selection}
t{150,0,0}
{Index Selection}
Paneling Grid & Attractor Point
2.1
{150,0,0}
{Index Selection}
2.2
{150,0,0}
{Index Selection}
2.3
{150,0,0}
2.4
{75,75,75} {75,150,75}
{0,150,0}
{150,150,0}
{0,0,0}
{150,150,0}
Paneling
{Curve Attractor}
{Point Attractor}
{Point Attractor}
{Grid Area as Movement Factor}
3.1
3.2
3.3
3.4
{Point Attractor}
{75,0,75} {150,75,75} {150,150,75t
{Dispatch every second pannel}
Attractor / Control Points (X,Y,Z) Attractor / Control Curves
{150,75,150}
{Dispatch pattern: Point Attractor}
{Dispatch pattern: Point Attractor}
{Dispatch pattern: Area}
The design matrix explores the different surfaces that can be created through using different control points and the level of twisting/ planarity as a result. The middle level of the matrix iterates upon the offsetting of a grid from that original plane and the final row looks at different geometries to be used as panelling for the surface.
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8 {75,0,75}
{150,150,75t
{150,75,75} {150,150,75t
{Dispatch every second pannel}
{Dispatch pattern: Point Attractor}
The waffle structure twists in on itself creating a{Dispatch spiraling moevery second pannel} tion upwards
{Dispatch pattern: Point Attractor}
Design Matrix 1:5
EXPLODED ISOMETRIC
The panelling embodies a minimalistic and simple aesthetic but behind that outward simplicity is a more complex code that separates out the main grid of 25 faces into different groupings. These groups of faces are determined by the use of a dispatch component with a boolean list created by a greater-than or less-than list of values relating to an attraction point. The openings in some of the face are reactive to their scale, that is, the scale of the opening varies dependant on the face it is in. Other openings vary in size determinant on their distance to the attraction point. The result is a myriad pattern that has greater visual interest.
{Dispatch pattern: Point Attractor}
{Dispatch pattern: Area}
{Dispatch pattern: Point Attractor}
The attractor point pulls the panels near the perimeter {Dispatch pattern: Area} outwards, giving them more volume and creating a sense of enclosure Openings vary across the surface depending on the area of the face. The larger. Small faces have no openings at all.
The second face curves in and over the
Openings are angled so giving that almost a sense of cantilesecond at the top as it reaches into thin air from one directionver the surface appears predominantly solid whereas from the opposite side the openings become visible making the structure more transparent.
The attracto near the per outwards, gi volume com the center, r enclosure.
Half of a face is removed from the paneling to create an opening. This opening does not vary across the surface and creates a rhythmic and consistent pattern across the face with the varying openings acting to break this rhythm with small punctuations.
When viewed from one angle the faces appear mostly closed but when rotated 90 degrees there are more perforations visible. This would permit light from certain angles whilst blocking it from others.
Paneling varies between two different shapes. Distribution is determined by a point atractor
Paneling var different sha termined by
Central waffle twists into the sky creating a vortex effect from the
Half of a face isinterior removed lookingfrom out the top. the paneling to create an opening. This opening does not vary across the surface and creates a rhythmic and Openings are concentrated to a consistent pattern across the diagonal line across the surface to enhance the pattern.face with the varying openings acting to break this rhythm with small punctuations.
Exploded Axonometric 1:1
0
20
60mm
Scale 1:2
10
TASK 01 LASER CUT MODEL
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Inputs
Parametric Diagram
Associate Outputs
BASE SURFACES
Create 150x150x150 box
Deconstruction Brep and extract edges
Subdivide Curve to create control points
Construct Lines between points
Loft to create surfaces
Dispatch by Attractor Point
Weaverbird Face Polylines
Dispatch by Area of faces
PANELING Paneling Geometry Surface Domain Number divisions 5x5
Attractor Point
Morph 3D
Offset Grid
Weaverbird Picture Frame
Fragment Patch
LIST B REPEAT PROCEDURE
Paneling Surface A
Picture Frame and Fragment Patch
Paneling Geometry Surface Domain Number divisions 5x5
Attractor Point
Morph 3D
Dispatch by Attractor Point
Weaverbird Face Polylines
Dispatch by Attractor Point
Attractor Point
Offset Grid
Weaverbird Picture Frame
Fragment Patch
LIST B UNALTERED
WAFFLE
Contour for relevant axis
Loft and boundary Surface
Rectangle at Brep|Brep intersections
Extrude Rectangle and Cap
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Trim
Notched Waffle
Paneling Surface B
The creation of the base surfaces was achieved via the use of a deconstructed box which was subdivided and then lines drawn between points on those lines.
Panelling for the exterior skin was created with varied opens, dispatch commands were used in conjunction with weaverbird. Custom previews were used to separate the different treatments.
Grasshopper Script
A supporting waffle structure was created from the base surfaces. They were contoured and then offset/lofted to create the waffle sections. Notches were inserted at the intersections.
To aid in the ease of constructability this last section of the script lays flat the sections of the waffle. Text tags were also used to identify the relevant pieces.
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Detail of nested geometry for laser cutting. The materials used were 1mm mountboard for the waffle structure and 290gsm Ivory Card folded to form the exterior paneling.
Prototyping of the panelling to test the feasibility of tab sizes and folding of geometries. The prototype was done with normal 90gsm paper initially then a smaller section with 300gsm card to replicate the final material.
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TASK 02 3D Print Model
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rmation
8
{75,0,75} {150,75,75}
{75,75,75} {150,150,75t
{150,100,0}
{0,-20,0}
Rotation of the base geometry {Dispatchcreates every second pannel} based on volume variance in the intersections between shapes — Design Matrix 1:5 moving from longer horizontal levels to thin, tall shapes.
{Point Attractor}
EXPLODED ISOMETRIC
{Morph and Scale}
{Dispatch pattern: Point Attractor}
{Dispatch pattern: Point Attractor} {Point Attractor and rotate towards point}
These areas form a large void {Dispatch pattern: Area} thatandstretches high above {Dispatch rotate dependant on volume} the ground plane, forming vault- like patterns in the upper areas. These would form interesting light-wells as light enter Openings vary across the surface defrom the top and bounces pending on the area of the face. The around the many left by larger. Small faces have faces no openings at all.the boolean-ed geometry.
The second face curves in and over the second giving almost a sense of cantilever at the top as it reaches into thin air
Large openings permit light and views to outside of the space. This is contrasted to the smaller openings which afford only glimpses and shafts of light.
The geometric polyhedron shapes that were created from the base grid were by themselves quite harsh and angular. When boolean-ed with a curved and spherical solid though they take on a different quality, balanced with the smoothness of the curve. The areas opened up by the subtracted geometries create cavernous galleries and narrow fissures depending on the variance of rotation built into the grasshopper script. The isometric opposite shows the full grid square whereas the 3D print was from a smaller section taken by subtracting from a sphere. The remaining angular geometry creates a canopy of sorts.
The attracto near the per outwards, gi volume com the center, r enclosure.
Half of a face is removed from the paneling to create an opening. This opening does not vary across the surface and creates a rhythmic and consistent pattern across the face with the varying openings acting to break this rhythm with small punctuations.
When viewed from one angle the faces appear mostly closed but when rotated 90 degrees there are more perforations visible. This would permit light from cerAs the box tain angles whilst blocking it from others.
is cut away some volumes are left larger than others, and on the edges these column-like sections area left.
Paneling var different sha termined by
Central waffle twists into the sky creating a vortex effect from the interior looking out the top.
In contrast to the connected spaces, these smaller and more intimate cut-outs are left Openings are concentrated to a by the boolean process which diagonal line across the surface to open possibilities for subsidiary enhance the pattern. spaces off a grand, double height space.
Exploded Axonometric 1:1
0
20
60mm
Scale 1:2
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Task 02 Design Matrix
Grid Manipulations
1.1
1.2
{0,0,150}
1.3
1.4
Key {x,y,z}
{150,150,150}
Attractor / Control Points (X,Y,Z) Attractor / Control Curves Object Centroids
{75,75,75} {100,120,80} {0,0,0}
{0,-20,0}
{Point Attractor}
{150,150,0}
{Curve Attractor}
Sphere Distribution
2.1
2.2
{Point Attractor}
{Point Attractor}
2.3
2.4
{0,150,150}
{0,150,150}
{75,75,75} {150,100,0}
{150,75,0} {150,0,0}
Sphere Transformation
{Curve Atractor}
{Curve Attractor}
{Volumetric Centroid}
{Point Attractor}
3.1
3.2
3.3
3.4
{75,75,75} {150,100,0} {0,-20,0}
{Point Attractor}
{Morph and Scale}
{Point Attractor and rotate towards point}
{Dispatch and rotate dependant on volume}
The matrix explores ways in which manipulating the grid can correlate to the final geometries. In 1.2 there is a spiraling pattern created by a crossed pattern of attraction curves. The final spheres created are fit into the cells, themselves taking on attributes of the spiraling pattern. These ideas, although not followed through in this module, presented themselves in the final pavilion.
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Obscured Grid Lines
Inputs
Parametric Diagram
Associate Outputs
BASE GRID CREATION
Create 150x150x150 box
Deconstruction Brep and extract edges
Subdivide Curve to create control points
Construct Lines between points
Grids x4
Point Attractor
Cellulate 3D grid
Polygon at Centroid
Extrude to point above and below
Brep Join to create grid of polyhedrons
POLYHEDRON GRID
Attractor Point
Manipulated Grid of Polyhedrons
150x150x150 Box
Solid Difference
Sphere
Solid Difference
Centroid
Distance
Attractor Point
Scale
Remap Numbers
0.7 - 1.0
Multiply Factor 1.2x
Construct Domain
BOOLEAN PROCESS
Centroid of Largest Polyhedron
Final 3D Print Closed Polysurface
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From the base box of 150x150x150 a nine by nine grid is created and the vertices used to form a field of points to manipulate.
A cellulated grid is created after the initial points are affected by an attractor point. The script is such that any number or types of transformation could be performed in this space.
Grasshopper Script
Polyhedroids are created at the centroids of the cells, these geometries are hexagons extruded to a point above and below. Scale is performed based on the distance to atractor point.
The polyhedrons are first intersected with a 150x150x150 box then that in turn is intersected with a sphere to create the desired shape. The final steps for the print are manually done.
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SPATIAL QUALITIES
As these designs are produced with the aim of generating ideas for the final pavilion design the subject of scale was an interesting question to address in regards to the form. How would these shapes and forms react to being shrunk down and repeated for instance or enlarged to form a shell for a structure. To explore theses ideas a small number of renders were made to explore the spatial qualities of the boolean 3D printed space. It lent itself to an almost cave-like experience on the interior, with the jagged overhangs taking on stalactite appearance. It would also frame view out and create an intriguing approach.
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2
1
3
[1]The Maker-Bot software builds a preview of the printing, almost like a time-lapse of the process. [2] Use of a square box to boolean the geometry from, takes on a very linear and angular aesthetic. [3] Experimentation with using a sphere as the secondary object in the boolean process. The result is a contrast between the smooth curves and the sharp faces.
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MODULE 03
TWISTING PAVILION
The main concept that the pavilion embodies is that of twisting and spiraling. The main form is driven by theses ideas, taking on the form of a twisting structure drilling into the landscape, creating a canopy over the revealed space below and affording space for 15-30 people to witness a seminar or evening quartet concert. Whilst there is an angular and geometric aesthetic to the main pavilion, the ground contrasts this will a shell-like spiral which directs people into and then into a circulation around the structure. The main materials include concrete — a raw finish and contrasting smoother, whiter look — brushed steel on the panels and a pine for the exterior fins.
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23
Voronoid interior cladding creates a cave-like, jagged rock experience, like an excavation.
Exploded Isometric
The pavilion takes on a angular form, which is contrasted against the flowing and circular landscaping. These aspects harmonise in their central idea of the twist and spiral. The pavilion digs into the ground as it drills down into the landscape exposing space beneath.
The design is such that each position around it has a new experience of the form, thus moving the visitors around the structure was considered. The shell-like spiraling landscape directs flow into and then around the pavilion.
Seating/Staircase which is not easy to traverse, with varying riser and going along its length to slow the movement of visitors through the space.
Main stage and performance space. Visible not only to the seated and covered audience but also from vantage points outside the pavilion, looking down and in from ground level.
1:50 0
1m
2m
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SITING
Key
FED SQUARE
Circulation Paths YARRA
Entry Directions Exit Directions Visual Experience Point Covered areas Interior Seating
TWISTING PAVILION
Additional Vantage Points NGV
ILDA ST K RD
BOTANIC GARDENS
1
SUN PATH N
Exterior waffle structure takes on a sculptural form, creating interesting patterns when viewed close to perpendicular to the surface. Primary access drawing visitors into the pavilion from St. Kilda road. This aspect was highly considered as it would be the first visual experience of the pavilion. (see Vignette 01)
Seating/Staircase which is not easy to traverse, with varying riser and going along its length to slow the movement of visitors through the space.
UNREAL ENGINE RENDERS
2
Main stage and performance space. Visible not only to the seated and covered audience but also from vantage points outside the pavilion, looking down and in from ground level.
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[1] Interior space for a sunset quartet performance. [2] Fins cladding the exterior
Design Iterations
A basic sketch model was made to see how the interior space could be treated with faces twisting down at differing angles. This was created in a much more ambiguous and free-form way, unlike the matrix opposite.
A different version of the interior panelling was created that closer resembled the panelling for module 2. The variances across the surface, visible through custom previewing with different colours, were driven by an attraction curve.
The concept of twisting was set upon quite early in the design development, what followed was a quest to find the ideal form to connote the ideas of twisting.
DESIGN DEVELOPMENT
This involved two key steps (see matrix); drawing lines between the vertices of shapes would create the twisting faces of the structure (like the control points on the cube for Module 2) so a number of options were explored to find the more pleasing twist. A square to diamond was eventually chosen as it had a regularity which appealed. This regularity had to be reduced somewhat to create visual interest in its asymmetry. The base shapes were morphed in different ways to make sure that each face of the pavilion carried a different quality, so each face had its own unique twist.
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TWISTING FORM
Design MATRIXMatrix OF FORM DEVELOPMENT
TRIANGULAR SURFACES
TWISTING CURVILINEAR
TWISTING TO CORNERS
STRETCHING
RIGHT JUSTIFIED
MORPHED RECTANGLE
SUBMERGED/DESCENDING
SIMPLE PYRAMID AND CENTROID ATTRACTION
OPEN PYRAMID AND POINT ATTRACTION
PYRAMID AND DISPATCH TO FORM PATTERN
VORONOID PATTERN AND CURVE ATTRACTION
PANELING ITERATIONS
BASE SHAPE MORPHING
LINEAR CONNECTION
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Inputs
Parametric Diagram
Associate Outputs
BASE TWISTING SHELL
Create 2 Rectangles
Box Corners
Move
Closed Polyline
2 base shapes: Rectangle and Square
Contour direction 1
Join and simplify Curves
Dispatch to flip curves to same direction
Offset Curves
Loft to create Fins
Loft Curves
WAFFLE
45° plane
Reconstruct Brep Two corner points
Brep|Brep intersection
200 units
Linear Array
Project onto Brep
Attractor Point
Rectangle at intersection planes
Extrude
200 units in Z
Plane creation for each fin
Extrude relevant to plane
Trim Solid
Notched Fins/Waffle
Voronoid Cells on a flat surface
Map to surface
Extrude Curves to point
Repeat for second surface
Control points
Move
Distance
Remap numbers
PANELING INTERIOR
Attractor Point
Final Paneling
Simplified version of logic behind the parametric process. This diagram only shows the main design elements, other elements were completed parametrically (see oppose).
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Creation of the basic shape including morphing the rectangle and diamond to create irregularity.
Steps and seating created by contouring the base surface and extruding.
Interior voronoid panelling. Shown is the projected curves and offset grid to extrude to.
Grasshopper Script
Creation of the fins, contouring the surfaces then offsetting or extruding. The intersections are notched through a trimming component angled to the correct planes.
Spiraling landscaping is created by an arc that rotates the further it reaches from the base point at the back. Edge details are added manually in rhino.
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Thresholds
1:100 0
1m
3m
The mass of the pavilion sits above ground level, with the inner experience only alluded to from a distance. The form is visual, with the twisting surfaces offering a multitude of different visual experiences from different vantage points around the structure.
Ground level landforming sits upon the pre-existing site terrain. The steps are sloped slightly matching the original typography. The shell-like design directs flow into, out and around the pavilion creating a sense of movement in the circulation of people.
Submerged theatre/performance space with steps/seating. Flow moves down into the space via the steps or the ramp. This below-ground area gives seclusion from the world around whilst also being cocooned by the pavilion above.
Thresholds
Section 1:50 0
1m
2m
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1:25 Sectional Model Materials include laser cut Mountboard and Ivory Card and 3D prints
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Sectional Model Photos
The final model needed to be constructed from a mixture of materials and techniques, from laser cut parts to 3D print elements. The combination of these parts mimics the different materials which would be used for the real-life construction.
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Fabrication Process
LASER CUTTING The majority of the model is created by laser-cut parrs, these include the waffle structure which forms the exterior fins and the landscaping. The interior panels were folded from 290gsm ivory card in a very intricate and difficult process and were cut down to fit inside given the imprecise nature of the folding process. In an ideal world the panels would have been 3d printed which would better have captured their sharp form. 3D PRINTING The 3d printed parts are those which contained curves. One of the key concepts of the pavilion was to create a sense that it had been pulled from the ground and from the landscaping. The detailing on the edges suggest this, with the sweep component used in grasshopper to create curved forms that connected the ground and pavilion structure. These elements had to be 3d printed along with the curved stair/seating area.
2
[1] Model photographed in natural sunlight to show how true, mono-directional lighting would fall on the structure. [2] Detailing on the edges and the panelling in the shaded interior space.
1
[3] Waffle catching the sun and showing off the pattern created by its repeating nature.
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3
Nesting of geometry to be laser cut. Prior to this the full model was cut using the Boolean function and a base built around to house the ground. The thickness of the mountboard — 1mm — had to be accounted for in the notches for the waffle and was scaled to the model not reality.
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Ivory Card nesting of interior panelling. Ideally this would have been 3D printed but due to the time limit of 9 hours for prints this was unrolled using panelling tools instead.
The 3D printed parts are those which are non-developable such as the sweeping edge detail and curved section of the steps. These were nested in height order to reduce the time required to print.
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360 Image Output
DIGITAL DESIGN SEMESTER ONE TWENTY EIGHTEEN
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