Digital Design Portfolio 2019

POR TF O LI O Digital Design Semester 1, 2019 Joseph Nolan 1003834 Siavash + Studio 19

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email: josephan@student.unimelb.edu.au

INDEX

REFLECTION Education: 2018 - current 2013 - 2015

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Bachelor of Design NAIT

Precedent Study Edinburgh Pavilion - Konishi Gaffney

Louis Khan once said “architecture is the thoughtful making of space�. As a designer, I strive to live by this quote, to make meaningful spaces that can shape human experiences. This subject presented powerful ways to achieve this through process and analysis.

Work Experience: 06

Generating Design Through Digital Processes

2015 - 2018

IBI Group Architects

Task A Task B

Awards / Exhibition: 2019

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DD MSDx Exhibition

Queen Victoria Garden Pavilion Skills: Rhino Grasshopper

In module 1, we were tasked with compacting information into a visual form in the way of a diagram. I previously had very little understanding of threshold and circulation, now I see them as integral parts of a design. Through to module 2, which taught of the significance of void as much as form and how spaces can be created from seemingly random objects. And finally in module 3, we were largely left on our own to refine these tools and express our abilities by creating a pavilion.

Unreal Photoshop

I learnt that parametric design can be a powerful tool for generating complex outputs and that it will be the future of built form. Outcomes can then be translated to 3d fabrication, real time rendering and virtual reality. These tools expand what can be created and allow designers to push the limits beyond what was traditionally thought possible.

Illustrator InDesign Fabrication Autocad

I will continue to refine my diagrams, graphic design and scripting. As well as trust parametric tools and be open to all outcomes they present.

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E D I N BU RGH PAVI LI O N Ko n i s h i G a f f n ey A rch i t e c t s The pavilion competes for attention because it sits among competitors. A single entry invites visitors to the pedestrians to enter and explore the space.

To make the relatively small pavilion space seem larger, they used a small threshold opening. This technique is used in sacred buildings. A ramp guides people into a spiritual space. It seems Konishi Gaffney designed this pavilion to be a space of contemplation. Pedestrians are encouraged to spend a long time here.

The interior structure was left unclad and painted white to allow sunlight to bounce around the prism. However, the pavilions multi-faceted panels can open up to allow for various types of functions.

M OD ULE 1 Diagramming Design Precedent Precedent Study Isometric

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Diagram 02

Diagram 01

Pause Areas

Exploded Isometric

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Diagram 04

Diagram 03

Elevation

Section

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M OD U LE 2 Generating Ideas Through Process

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Design Matrix Key Attractor / Control Points (X,Y,Z) Attractor / Control Curves Grid Points

Lofts Paneling Grid & Attractor Point Paneling

1.1

1.2

1.3

1.4

{Index Selection}

{Index Selection}

{Index Selection}

{Index Selection}

2.1

2.2

2.3

2.4

{Attractor Point Location}

{Attractor Point Location}

{Attractor Point Location}

{Index Selection}

3.1

3.2

3.3

3.4

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1) The surface loft shows some of the possible outcomes of changing grasshopper variables.

2) Combinations of point and attractor curve create different effects when offsetting the grid. I wanted a grid that accentuated the form and maximize light exposure.

3) A multitude of panels were experimented with. This ranged from rectilinear shapes to flat to triangular. I ultimately used a combination of flat and angled panels with variation in opening sizes. They were able to form to the surface and were better suited for assembly.

Surface and Waffle Flat panels emphasize the gradient height of tall panels to make it Allocated entrance area

look expanding.

Gradual growth is size for seamless transition exaggerates curve of waffle structure.

Variable holes that can open or close to suit the environmental context.

The primary function of the angled panels is to control the way light enters the interior. All of the openings face in the direction of the sun path. The flat panels can open and close to control ventilation in such an enclosed space.

Every angled face has an opening towards the sun for maximum

The waffle structure provides the framework for the surface panels. Here it has been turned on its side, further reinforcing my design thesis of controlling circulation. Its formal and rigid structure provides a dichotomy to the exterior panels.

exposed light absorption.

Allocated exit area

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9

658

38

35

35

48

47

41

54

38

33

38

2 67

51

54 19

27

33 48

38

70

22

34

482

43

70 19

1 2

29

45 22

1

68 6

66

5

S1 R1

58

8

56

267

22

80

5

26

71

63 47

31

99

67

0 10

22

41

3

S1 R2 P1-3 2

6

58

3

5

438

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S2 FLAT PANELS 104

2 9

26 67

31

9

35

16

104 73

19

34

27

71 47

38

76

52

46

1

26

78

39

440

45

41 41

45

39

78

38

416

S1 R2 P4,5

10 0

6

341

3

50

102

339

6 10

S1 R3 P1-3

79

16

442

26

27

3

381

5

19

22

22

9

3

31

9

S1 R5

19

2

39 46

2

41

41

41 39

0

7

45

2

47

36

41 12

1

97

S1 R3 P4,5

7

6

85

12

S1 R4 P1

57

70

47

51 68

30

16

5

57

63

14

24

52

16

35

3

51

S2 R5 P1-3 34

1

34

3

1

51

52

0

69 73

7

70

56

1

7

S2 R3 P1-3

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31 2

41

50 51

41

44 38

71

6

7

38

7

50

63 2

1

63

S1 R4 P2-4 2

43

22

82

48

69

36

35

47 48

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1. Unrolled Waffle

3. Laser Cut Panels

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S1 R4 P5

2. Unrolled Panels

4. Constructing Waffle Structure

5. Constructing Panels

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5. Assembling the Waffle & Panels

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SOLID AND VOID Part 2 of module 2 was an exploration of creating voids to become spaces.

I experimented with a multitude of forms to varying success. All of which subtracted from a 150x150x150mm cube to become a new 50x50x50mm shape.

After using standard platonic forms, I used a plug-in called waterman to create a multi-sided object. The waterman form varied in size, location and shape. The result was an object that could be extracted with greater variability in solid and void I liked the way light could reflect off the kaleidoscope of faces, however I wanted to control the porosity and circulation to a greater extent.

My fourth object was created by lofting ovals across a 3-dimensional curve that intersected with a cube.

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Bounding Box & Attractor Points

1.1

1.2

1.3

1.4

Key

Design Matrix Attractor / Control Points Control Curves Grid Points

Task B Matrix

Boolean Difference Study Area Boolean Intersection

{Attraction Point Location}

{Attractor Point Location}

{Attractor Point Location}

{Attractor Point Location}

2.1

2.2

2.3

2.4

{Boolean Geometry}

{Boolean Geometry}

{Boolean Geometry}

{Boolean Geometry}

3.1

3.2

3.3

3.4

{Study Area Locations}

{Study Area Locations}

{Study Area Locations}

{Study Area Locations}

4.1

4.2

4.3

4.4

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Various shapes were used at different densities to find appropriate solutions. My focus was creating dynamic openings and multi-leveled space for interaction.

Analysis

Openings for light

Low hanging overhead threshold

Major gathering space

Major gathering space

Openings for light Skylight

Threshold between internal levels Entrances for pedestrians

First interactive level

Threshold - too low for adults but ideal for kids

Threshold - too steep to walk but can climb into space

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M2 Task 2 3D Printing

The adjacent iteration strives to create a balance of all those components. Its multilevel interior provides an interactive space for pedestrians. Each level has a different experience of light exposure, surroundings and site lines. It has a variety of different threshold conditions suited for different activities that draw viewers to interact with on enter the space. Circulation is controlled through a single entrance, similar to that of task A.

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3D Print 1

3D Print 2

3D Print 3

3D Print 4

M OD U LE 3 Queen Victoria Garden Pavilion

WAVE PAVILION The Wave Pavilion serves as a multi-functional space for entertainment, conversations with friends or quiet contemplation. Each area is implied by density of traffic and level of enclosure. Each area is separated by vegetation and built thresholds.

The garden area is suited for reading a book in the sun, while the public spaces are a good place small social gatherings. At nighttime, there is a more lively atmosphere as artificial lights shine through the fabric cladding to create a glowing effect. The amphitheater is an ideal place for performances, seating up to 35 people. The pavilions shell shape and wooden materials provide good acoustics.

Visitors enter the site through a threshold expressed by a step down and change of ground material. To enter the interior space, visitors pass underneath an opening created by a parabolic curve. From here, pedestrians can circulate through the seating area and around the garden in a radial fashion, ending up back where they started.

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Isometric MAIN SEATING AREAS QUIET SEATING AREAS THRESHOLD CIRCULATION

ENTRANCE

VERTICAL CIRCULATION

ENTRANCE

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Precedent Studies

Regio Emilia Railway Station - Santiago Calatrava

Burnham Pavilion - Zaha Hadid

Santiago Calatrava has the marvelous ability to transform simple geometries extremely visualy appeasing forms. He embraces showing off the unique structure. I used his railways station design as inspiration for the structure of my pavilion.

Zaha Hadid utilized the unique abilities of tensile fabric on her Burnham Pavilion design. Fabric was stretched over a lightweight structure and artifical lights shone through at nighttime. This brought the pavilion to life, attracting people to this beacon for entertainment. I applied these qualities to my pavilion design.

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Design Process

Creating curvilinear waves

Combining the two

Using cos waves

Using sin & cos waves at lower amplitude

Increasing wavelength

Using sin & cos waves

Using sin & cos waves at higher amplitude

Extending fins

Creating rectilinear waves

Cutting it in half

Other Design Iterations

Re-scaling & creating Fins

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Adding a surface cladding & deleting every second fin

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Computational Process Accidentally create a curved version when lofting rectangles across the lines.

Create a sine wave at a 45 deg. angle and divide it to make points.

Move the points horizontally.

Variables that control height, length, width and wave length of the points.

Use a polyline to connect the points.

Move the points vertically to create 2 waves flowing in opposite directions

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Fabrication p process

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360 Image Output

Digital Design Semester 1, 2019 25