DIGITAL DESIGN Jessica Bourke 992621 Alison Fairley Studio 20
JESSICA BOURKE Email
C ONT E NT :
2018 - Bachelor of Design (Architecture)
I am motivated by the study of experience within a space, and the interdependent relationship between people and place.
MODULE 1 Diagramming Design Precedent
Through a multifaceted analysis of experience, through lenses of thresholds of circulation, surface, and solid and void, I have been exposed to a new way of designing; one using generative, parametric processes.
MODULE 2A Surface and Waffle
MODULE 2B Solid and Void
MODULE 3 Queen Victoria Garden Pavilion
St. Margaret’s School
WORK EXPERIENCE: 2018 Humanitarian Design Internship India 2017 Community Construction Project Borneo 2015
Invetech Engineering Internship
AWARDS / EXHIBITION: 2019
Deans Honours Award
2018 New Colombo Grant Recipient MSDx Exhibition 2017
Kwong Lee Dow Young Scholar
VCE Honour Roll Studio Arts
2015 Long Tan Teamwork and Leadership Award
Rhino Grasshopper Unreal Photoshop Illustrator Indesign Fabrication
I came into this architectural degree not viewing ‘designing’ as physical output focused. Rather, I designed with the intention of creating experience, a thought I have carried through my studies. This is emphasised through my final pavilion design, with a strong focus on context, and how it can both generate form and inform experience. I have discovered an unlikely connection to this idea and the introduced software, where the workflow is generative and not centered upon a physical output. My initial ambivalent attitude towards digital design, as often one becomes disorientated in the world of parametric tools, has certainly transformed into an appreciation of its generative capabilities. I am continually endeavouring to improve my three-dimensional representation skills, and have refined the visual representation of ideas after each module. I look forward to implementing a new way of thinking in future studios.
DIAGRAMMING DESIGN PRECEDENTS
SUMMER SERPENTINE PAVILION (2016) LEIBINGER Leibingerâ€™s Summer Serpentine Pavilion (2016) revolves around looping geometry, which informs the overall design through creating shadow, inviting the viewer to partake in an organic circulation path which mirrors the fluidity of the forms, and the choice of material in plywood and timber, which reinforces the warmth of the coils. Boegly, Luc. Summer Serpentine Pavilion. Photograph. June 18, 2016. Accessed March 11, 2018. http://archeyes.com/barkow-leibingerarchitekten/
ISOME TRIC 1:50 M O D UL E 1 D i a g ra mmi n g D es i g n Prec ed en t s
INFLUENCE OF PRIMARY SOLIDS
INFLUENCE OF SECONDARY SOLIDS: SHADOWS
I reinforced the undulating nature of the C-shaped bands encouraging a closed loop by the viewer, and included one entry point dictated by a path.
Thresholds can be unmoving, due to enclosure within the C-shaped bands, or temporal, influenced by the secondary solidâ€™s shadows casting a curving, fluid influence on the site.
M O D UL E 1 D i a g ra mmi n g D es i g n Prec ed en t s
SURFACE AND WAFFLE
Seamless transition between 4 modules through implementing PtMorphList. Adjusting Distance of Contour Lines ensures fins correlate with intersecting modules, allowing for ease of construction and clear view from cutouts
Regular Cutouts ensure consistent air circulation and sense of permeability between interior and exterior.
Alignment of prisms creates larger form which overrides standard 5 x 5 grid
Fracturing of triangular prism into triads creates strong sense of horizontality, encouraging complete circulation, and possibility for appropriation through seating, stepping, etc.
SURFACE AND WAFFLE
Module 2A revolved around the parametric modelling of two surfaces, and their actualisation 60mmin a paper model. The relationship between
quadrangular forms and curvature was explored in Grasshopper and Rhinoceros, and through this the diversity of affordances provided.
ISOME TRIC 1:1.5 M O D UL E 2 A Su r fa c e a n d Wa f fl e
DESIGN MATRIX The panelling matrix explores the tension between quadrangular forms and curvature. The final result was extracted from 3.1, due to its strong horizontal focus, constructible surface, and alternating modules, leading to a surface with varied affordances. M O D UL E 2 A Su r fa c e a n d Wa f fl e
Use PtSrfDomNum to create 5 x 5 grid on surface, use PtOffsetGrid and PtCrvAtts to offset points
Use Item and Divide to adjust vertices, Ln to join
PtMorph3DList translates modules to surface using 2 grids, DeBrep of modules and BoundingBox.
Create a box, then extract edges using DeBrep
Use CullIndex to clean fins, ensuring that edges do not coincide with edges of panels
Use Contour to construct fins, DeBrep of box to source points. Adjust Distance to 30 so waffle aligns with faces
ReMap PtOffsetGrid using Domains to increase control of module output
Modules are meshed after DeBrep to ensure no collisions with rectangular faces
Explode Tree contour data then Trim to create final waffle
Orient waffle on XY plane using a Rectangular Grid, preparing to laser cut.
Create and Extrude rectangles for notches
Text Tag 3D to allow for ease of construction
Use Brep | Brep and Entwine to create planes for notches Final waffle de-constructed and organised using Cocatenate and Series
COMPUTATION AL WORKFLOW M O D UL E 2 A Su r fa c e a n d Wa f fl e
The shelter capabilities of the panels are explored. Its twisting surface creates nuanced pockets for play. M O D UL E 2 A Su r fa c e a n d Wa f fl e
A closer detail reveals the implications of horizontally aligning modules in creating longer, accessible spaces, walkway-like in nature. M O D UL E 2 A Su r fa c e a n d Wa f fl e
SOLID AND VOID
Multifaceted nature of form lends itself to varied light and shadow interplay that is temporal
Gradation in form results in areas in distinct sun and shadow
Larger, more expansive space allowing appropriation for shelter and feeling of enclosure
Creation of nestled pockets through scaled forms, allowing for privacy and reflection.
Rotation of geometry creates inbuilt affordances encouraging rest.
SOLID AND VOID Module 2B focused on multiple levels of manipulation based on one control point. The possibility for thresholds, entry, and circulation to be
dictated by a single point was promising, as well as the opportunity to track subtle transformations or distortions as a user occupying space.
ISOME TRIC SECTION 1:1.5 M O D UL E 2 B Sol id a n d Void
01 Contrast in facet size, 02 Strong sense of horizontality
F OCUS AREAS FOR FABRICATION:
Regularity in form
M O D UL E 2 B Sol id a n d Void
DESIGN MATRIX The matrix explores the manipulation of geometry through a control point through point grids, geometry choice, scaling, distortion, and rotation. I found that as the organic nature of the forms increased, the boolean began visually unresolved. M O D UL E 2 B Sol id a n d Void
Use PtCrvAtts to alter point grids based on curve Use Cellulate 3D grid with point grid input to create faces for grid boundaries
Construct initial grid using Domain Box, extract one face using DeBrep and org anise into 3 x 3 grid with Surface Domain Number
For geometry 2.2-2.4, Mesh Sphere, then Deconstruct Vertices, Faces, and Normals into Simplex Noise Plugin. Control Time, Scale, and Volume based on Remapped Values. Import Geometry into XY and YZ Planes for Rotation.
Input chosen Geometry with Distortion and Scale factors sourced from Remapped Values.
Cascade Move grids, dividing box into 3 x 3 x 3 grid of points
Create an XY, then YZ Plane between Centroids and remapped values. Rotate geometry based on Remapped Values. Using the endpoint of a chosen curve as a starting point, find Distance between Point and Centroids. Remap these values for scaling, distorting and rotating geometry.
COMPUTATION AL WORKFLOW M O D UL E 2 B Sol id a n d Void
QUEEN VICTORIA PAVILION
A soundscape of Queen Victoria Gardens provided a means of generating a pavilion intrinsically linked with site. I aimed to explore the dynamism and movement of sound through transforming this input into informa-
SOUNDSCAPE ation. I mused upon the notion of the stopping problem postulated by Greg Lynn, and through generative design, a tram sound became the source of information. The sound-wave is isolated above. M O D UL E 3 Q u een V i c tori a Pav i l i on
The structure is created with a site-specific sound moment (tram), which generates a grid of points that are then meshed
White, matt, anodised aluminium panels are triangulated and welded at creases to form the structure
Concentrated edges are subtlety sunken into the landscape, transferring loads to the ground and providing stability
Circulation paths mediated by two paths in garden
Light relationship between shelter and ground, creating a dynamism and energy, relating to the moving nature of sound
Terraced levels are orientated to capture morning sun and afternoon shade, season specific for the summertime
Tilted, triangulated concrete slabs mirror the sharpness of the pavilion, sunken into the landscape
ROOF SECTION 1:30 Changing height of the ceiling leads to sound scattering, maximising the acoustic efficiency of the space
Interior ceiling reflects energy and form of a sound-wave
Initial spatial threshold dictated by material transition from grass to concrete As one moves further below ground level, the general feeling of enclosure increases Sunken landscape minimises effect of wind for performers
EXPLODED ISOME TRIC 1:75 M O D UL E 3 Q u een V i c tori a Pav i l i on
1.25 - 1.50 sec 280 Grid Points 70 Grid Points
2.60 - 2.80 sec
4.70 - 4.90 sec
9.90 - 10.10 sec
20.50 - 20.70 sec
Controling Domain of Z + Y Grid Po
The changing nature of the soundscape resulted in a multitude of iterations. Certain â€˜momentsâ€™ were utilised as controls, then the number of
points were varied. Designs were chosen due to their ability to pro3.5 vide shelter, and evoke a certain lightness, dynamism, and energy. M O D UL E 3 Q u een V i c tori a Pav i l i on
d Points Controling Domain of Z + Y Grid Points
BrepInc to Cull Grid Points
DESIGN DEVELOPMENT Further iterations either remapped domains (Row 3) or culled points within a Brep (Row 4) in an attempt to fulfil the required programmes. I
found that this forced effort to provide shelter resulted in rather static forms. I developed iteration 2.5 in a bid to maintain a certain energy. M O D UL E 3 Q u een V i c tori a Pav i l i on
APPROACH M O D UL E 3 Q u een V i c tori a Pav i l i on
CEILING M O D UL E 3 Q u een V i c tori a Pav i l i on
02 01 LECTURE 02
03 M O D UL E 3 Q u een V i c tori a Pav i l i on
The sectional model, constructed from PLA 3D prints, laser-cut MDF panels, and paint, explores a certain energy created through a variable roof height and sinking the pavilion into the landscape. M O D UL E 3 Q u een V i c tori a Pav i l i on
CEILING M O D UL E 3 Q u een V i c tori a Pav i l i on
The terraced, triangulated landscape draws formal parallels to the architectural language of the shelter. The sectional cut can be likened to the movement of a sound-wave. M O D UL E 3 Q u een V i c tori a Pav i l i on
DYN AMISM M O D UL E 3 Q u een V i c tori a Pav i l i on
Bake grid of points based on original interval Sort left-hand values into ascending order
Cull grid of points based on panel pattern, then Delaunay Mesh
Scale frequency values to address scale
Delaunay Mesh points
Capture soundscape input for specified period, extracting left and right frequency values
Use BrepsInc to cull points within the Brep Generate Z values of points through constructing a domain and randomising right-hand list
Construct a box to act as culling boundary and translate
COMPUTATION AL WORKFLOW M O D UL E 3 Q u een V i c tori a Pav i l i on
360 IM AGE M O D UL E 3 Q u een V i c tori a Pav i l i on